THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


UNIVERSITY  of  CALIFORNIA 

AT 

LOS  ANGELES 


GALLO'S  BAND  BOOK 


PART  I 


B.  M.  Co.  6244 
Cofjyright,  1921,  by  The  Boston  Music  Co. 


at  mtet 


GALLO'S  BAND  BOOK 

A    TREATISE    ON    WIND    INSTRUMENTS, 
SYMPHONY  BAND  AND  MILITARY  BAND 


By 

STANISLAO  GALLO 

Conductor  of  the  Gallo  Symphony  Band 

and 

Head  Instructor  of  the  School  for  Bandmasters  and  Players 

at  the 
New  England  Conservatory  of  Music,  Boston 


PART  I 

WIND  INSTRUMENTS 

THEIR  TECHNIQUE,  NOTATION,  TONE-COLOR, 
AND  USE  IN  BAND  AND  ORCHESTRA 


The  ©oiQQ  Mu/ic  ocflffeflx 

fio/loD.  Ma/rii^ 
124775 


In  preparation 

Part  II 

BAND  IXSTRUMENTATION 

Including  a  practical  band  reform;  the 
systematic  application  of  the  Standard  Score 
to  Symphony  Bands  and  Military  Bands  of 
all  sizes;  and  a  progressive  course  in  sectional 
scoring. 

Part  III 

EXAMPLES  IN  FULL  SCORE 

With  important  suggestions  regarding  the 
execution: — conducting;  open-air  concert  plat- 
form and  seating  of  performers;  marching 
formation  of  the  Klilitary  Band;  etc. 


28  9'-^ 


i 


\Z0O 


PREFACE 

There  has  lieen  no  stinting  in  research  and  experiment,  in  (irder  to  make  this  book  as  clear,  complete  and 
brief  as  possible.  What  others  have  written  on  this  subject,  has  been  duly  considered  and  compounded; 
the  best  masters  on  each  instrument  ha\e  been  consulted;  makers  of  new  and  modernized  devices  ha\e  lent 
their  counsel;  renowned  com[)osers  and  conductors  have  declared  their  adherence  to  whatever  no\el  prin- 
ciples and  conceptions  are  here  set  forth.  The  book  constitutes  the  result  of  years  of  patient  and  systematic 
application,  offered  now  to  students  and  musicians  in  practical  and  concise  form. 

Only  those  familiar  with  the  complexity  of  the  subject,  will,  at  a  first  glance,  appreciate  the  enormous 
help  and  saving  of  time  which  may  be  gained  by  the  study,  in  Part  I,  of  the  tables  and  expositions  which 
present  all  the  possibilities  of  all  the  wind  instruments;  point  to  their  analogy  and  differences;  and  teach 
their  fittest  and  surest  use.  What  would  ordinarily  occupy  hundreds  of  jiages  of  involved  explanations,  has 
thus  been  set  down  into  condensed  and  synoptic  charts. 

Parts  II  and  III  form  a  comprehensive  guide  to  band  instrumentation.     The  various  combinations  of 

wind  instruments,  each  of  which  is  a  homogeneous  unit,  are  therein   presented  as   mere  modifications  of  the 

Symphony  Band,  and  are  treated  with  the  aid  of  one  and  the  same  score.     The  Symphony  Band  score,  which 

K        in  the  structure,  i.e.  number  and  disposition  of  parts,  corres[K)nds  to  the  S\mphony  Orchestra  score,  sim- 

^       plifies  greatly  the  work  of  transcribing  any  s>mphonic  composition  from  orchestra  to  band,  and,  moreover, 

affords  the  composer  the  possibility  of  writing  for  band  without  the  necessity  of  prior  study,  as  he  may 

transfer  his  conception  from  the  plan  of  the  orchestra  directly  to  that  of  the  band. 

'*>^'^  What  is  most  \aluable  to  the  instrumentator  for  daily  references,  such  as  information  concerning  the 

compass,  notation  and  transposition  of  the  various  instruments  used  in  the  band  score,  or  of  those  found  in 

works  to  be  arranged  for  band,  is  presented  in  the  Introduction  to  Part  I.     Additional  data,  concerning  Itand 

instruments  in  sundry,  special  combinations,  like  the  Fanfare,  Bugle  Corps,  Drum-and-Kife  Corps,  etc.,  will 

be  found  in  an  Appendix  following  Part  III. 

i<]  E^•erything  has  been  made  subservient  to  the  needs  of  simplifying  and  condensing  the  material  essential 

«A       to  the  bandmaster,  the  composer  or  instrumentator.     Each  part  or  volume,  complete  in  itself,  is  a  practical 

and  reliable  handbook.     Nor  is  their  applicability  limited  to  what  concerns  only  the  band,  but  the  whole 

work  should  pVove  equally  valual>le  to  any  one  desirous  of  studying  the   wind  instruments  in  connection 

with  symphonic  or  operatic  orchestras. 

It  is  hoped  that  thereby  the  standard  band  repertoire  will  be  developed  and  that  a  greater  number  of 

>4       comjiosers  will  be  drawn  to  write  more  serious  and  artistic  music  for  such  combinations,  the  actual  resources 

./       of  which  ha\'e  been  barely  tapped.     As  the  only  satisfactory  pur\eyor  of  musical  entertainment  in  the  open 

air,  the  Symphony  Band  is  the  logical  means  by  which  to  bring  good  music  to  large  masses  and  to  further  the 

musical  education  of  the  peojjle. 

STANISLAO  GALLO. 
Boston,   Mass., 
January,  1921. 


[51 


PRELIMINARY  REMARKS 

In  order  to  simplify  the  explanations  in  the  text,  it  has  been  found  necessary  to  adopt  some  terms  for 
which  there  are  no  equivalents  in  the  musical  vocabulary.  These  adopted  terms  and  their  respective  defini- 
tions are  as  follows: — 

Conic-wood  (page  34):  the  section  of  keyed  instruments  having  a  conical  tube;  comprising  all  the  instru- 
ments generally  known  as  "wood-wind,"  with  the  sole  exception  of  the  Clarinets,  which  have  a  cylindri- 
cal tube.      (See  explanatory  foot-note,  regarding  the  cylindrical  Flute,  page  38.) 

Grand  Quintet  (page  35):  the  five  principal  parts  in  the  band-  or  orchestral-score,  which  are  performed 
in  mass  (redoubled) — by  Clarinets,  in  the  Symphony  Band  and,  by  Strings,  in  the  Symphony 
Orchestra. 

Instrumentator  (page  42);    the  composer  or  "arranger"  who  scores  for  band  or  orchestra  an  original  com- 
position of  his  own,  or  makes  a  transcription,  adaptation  or  arrangement  of  an  instrumental  compo- 
sition for  a  combination  of  instruments  different  from  the  original. 
Other  adopted  terms  are  duly  explained  in  the  text  itself  or  in  foot-notes. 

The  term  band  (appearing  in  the  text  in  small  letters)  applies  in  a  general  way  to  any  combination  of 
wood-wind,  brass  and  percussion  instruments.  Likewise  the  term  orchestra  signifies  any  combination  of 
string,  wood-wind,  brass  and  percussion  instruments. 

When  a  distinct  form  of  band  or  orchestra  is  to  be  defined,  a  specific  compound  name  is  then  employed, 
viz.:  Symphony  Band  (see  page  31),  Military  Band,  Brass  Bind,  etc.;  Symphony  Orchestra,  Vaudeville 
Orchestra,  Dance  Orchestra,  etc.  (appearing  in  the  text  with  capital  initials). 

The  term  Symphony  Orchestra  (page  31)  applies  to  both  ths  orchestra  of  the  concert-hall  and  that  of 
the  grand  opera — both  having  the  same  instrumentation,  excepting  the  association  of  the  Voices  with  the 
latter. 


[6] 


CONTENTS 


Introduction — Souxd-producing  Instruments  ix  Gener.\l 

The  band  instruments       ..... 

To   the   TE.A.CHERS  ...... 

Chapter  I    — Acousti'c  principle  of  the  wind  instru-ments 

Chapter  II  — The  transposing  wind  instruments 

Chapter  III — ^The  Clarinets  (keyed-cylindrical  tube  instruments) : 

(a)  Types  of  instruments  and  their  notation 

(b)  Harmonic  series  and  scales     .... 

(c)  Technique    ....... 

(d)  Quality  of  tone     ...... 

(e)  Illustrations  of  the  modern  Clarinets 
Chapter  IV — The  Conic-woou  (keyed-conical  tube  instruments) : 

(a)  Types  of  instruments  and  notation 

(b)  Harmonic  series  and  scale      .... 

(c)  Technique    ....... 

(d)  Quality  of  tone     ...... 

(e)  Illustrations  of  the  modern  Conic-wood 
Chapter  V — ^The  Brass  (cup  mouthpiece  instruments): 

(a)  Types  of  instruments  and  notation 

(b)  Harmonic  series  and  scale       .... 

(c)  Technique    ....... 

(d)  Quality  of  tone     ...... 

(e)  Illustrations  of  the  modern  Brass    . 

Index      


pages 
9 
31 
36 
37 
39 

44 
44 
45 

50 
51 

52 
52 
55 
58 
59 

61 
66 
72 
75 
76 
81 


7] 


LIST  OF  SYNOPTICAL  TABLES 


The  human  voice   .... 

Keyed-cylindrical  tube  instruments 

Keyed-conical  tube  instruments 

Valve  instruments 

Slide  instruments 

Polyphonic-wind  instruments 

Percussion  instruments 

Stringed  instruments     . 

The  band  instruments  . 

Transposing  instruments  in  unison 

Harmonic  series  ant)  scale  of  the  Clarinets 

Trills  and  tremolos  for  the  Clarinets 

Harmonic  series  and  scales  of  the  Conic-wood 

Trills  and  tremolos  of  the  Conic-wood 

Technical  and  common  names  of  Saxhorns  and  Tubas 

Mouthpieces  of  the  br,\ss  instruments 

Slide  and  valve  instruments  compared 

Harmonic  series  and  scales  of  the  Brass     . 

Trills  of  the  valve  instruments  . 

Intervals  and  glissando  of  the  Slide-trombone 


PAGES 
1 

12-13 

14-17 

18-22 

22 

23-25 

26-27 

28-30 

34-35 

41 

44-45 

49 

54 

56-57 

64 

65 

67 

71 

73 

74 


INTRODUCTION 


Sound-Producing  Instruments  in  General 


The  synoptical-tables  given  in  this  Introduction  will  furnish  a  comprehensive  idea  of  the  nature  and  com- 
pass of  all  the  sound-producing  instruments  now  used,  including  some  which  are  no  longer  in  common  use. 
The  various  groups  of  the  entire  sounding  mass  are  classified  in  the  following  order: — 


I.  THE  HUMAN  VOICE 

(a)  Female 

(b)  Children 

(c)  Male 

II.  WIND  INSTRUMENTS 


(a) 
ib) 
ic) 
(d) 

(e) 


(D 


Keyed-Cylindrical  Tube 

Keyed-Conical  Tube 

3-\'alve,  Long  Conical  Tube 

3-Valve,  Short  Conical  Tube 

3-Valve,  one-third    Cylindrical    and    two- 
thirds  Conical  Tube. 

4-Valve,  one-third    Cylindrical    and    two- 
thirds  Conical  Tube. 

3-\'alve,  two-thirds  Cylindrical   and   (jne- 
third  Conical  Tube. 

4-Valve,  two-thirds  Cylindrical   and  one- 
third  Conical  Tube. 
_  Slide,  two-thirds  Cylindrical  and  one-third 
Conical  Tube. 


III.     POLYPHONIC  WIND  INSTRUMENTS 

(a)  Without  keyboard  or  stops 

(b)  With  keys  and  without  stops 

(c)  With  a  keyboard  and  stops 

(d)  With  three  or  four  manuals  (keyboards), 

pedal  and  stops 


IV.     PERCUSSION  INSTRUMENTS 

(a)  Indeterminate  pitch 

(b)  Changeable  pitch 

(c)  Fixed  pitch 


STRINGED  INSTRUMENTS 

(<z)     Plucked 

(b)  Percussive 

(c)  Bowed 


The  inclusion,  in  this  Introduction,  of  instruments 
not  cmplf)\ed  in  the  band,  is  intended  to  give  the 
student  all  the  information  needed  in  connection 
with  band  scoring: — 

To  become  thoroughly  efficient  in  this  branch  of 
music,  one  must  be  familiar  not  only  with  the  in- 
struments of  the  band,  but  also  with  those  employed 
in  other  branches  of  instrumental  music  (such  as  the 
orchestral  instruments,  the  Piano,  the  Organ,  etc.) 
from  which,  part  of  the  band  repertoire  is  generally 
transcribed. 


The  classification,  which  in  itself  provides  a  clear 
idea  of  the  nature,  character,  compass  and  notation 
of  each  instrument,  and  the  brief  ex[)lanations  on 
the  Organ,  Harp,  bowed  instruments,  etc.  will  enable 
the  student  to  understand  the  constructive  parts  of 
the  different  forms  of  instrumental  music.  He  will 
then  learn  more  easily  as  regards  their  employment 
and  execution,  by  diligent  score  reading — at  first 
simply  analyzing  and  then  following  the  perform- 
ances of  such  music  in  the  concert-hall  or  the 
opera   house. 


10 


INTRODUCTION 


EXPLANATORY  NOTE 


In    the    following    tables    the    two    whole    notes 
•**    X     indicate    the    limit    of    the    tonal 


(o  °  )     ^ 


compass. 


The  eighth-notes 


(i^)' 


ndicate  the  extreme  tones 


obtainable  only  by  a  few  skilled  performers,  and, 
therefore,  are  to  be  avoided  in  orchestral,  band  or 
vocal  parts. 

The  stemless  note-heads      (#)     indicate  the   tones 

which  are  lacking  entirely  in  some  instruments. 

The  notation  of  the  transposing  instruments  is 
indicated  on  the  right-hand  side  of  the  tables  under 
the  heading  "Transposition,"  and  denotes  as  follows: — 

Reading-Transposition: — The  first  breve  (M) 
indicates  the  wrillen-C,  and  the  second,  the  actual 
sound  of  the  written-C,  bewaring  the  signature  of  the 
key  which  results  when  the  instrument  plays  without 
accidentals. 


Writing-Transposition: — The   square   note-head 
/r— 1\    represents  the  tone  of  the  transposing  instru- 


ment corresponding  to  middle-C  1 


"  bearing 


m 


the  signature  of  the  instrument  corresponding  to  the 
actual  key  of  C-major  or  A-minor. 

In  several  instruments  of  either  extremely  high  or 
low  register,  where  the  tonal-compass  docs  not  contain 
middle-C,  the  square  note  is  then  enclosed  within 
brackets  to  indicate  that  such  would  be  the  note  that 
would  correspond  to  middlo-C,  were  that  note  in- 
cluded in  the  compass  of  the  instrument. 

The  instruments  which  are  most  in  use  are  desig- 
nated by  capitals;  those  rarv:-ly  used,  by  italics,  and 
those  which  are  obsolete,  by  italics  within  brackets. 


11 


The  Human  Voice 


Transposition 


(a)FEMALE 
J 

LYRIC-SOPRANO 


a.  -" 


i 


^ 


SOPRANO 


or  J 
MEZZO-SOPRANO  ipb:ui_(£_ 


...V  llf^  1^ 


i  hi     t>^ 


»-^ 


ALTO 
.(or  Contralto) 


J 


^ 


^^ 


%=My 


...SOPRANOS       [jj    .;^J.  ,^l       ^ 
2nd  SOPRANOS     TTTT  V(!{h-  ' 


^MMfe 


P^^ 


^ 


ALTOS 


(b)  CHILDREN 

1st  SOPRANOS 

2nd  SOPRANOS 

ALTOS 

(c)MALE 

TENOR 


^^ 


i 


1^^ 


# 


U'  iiJi.."  n. 


»[!  p  «p  n 


rtf 


o   o 

c  Co 


BARITONE         .y^J;,  VjJ)     ^J^  |J^      t,..-- 


!?S:         ^ 


1st  BASS 
(or  Basso  Caataate) 


2nd  BASS 
for  Basso  Profondo) 


m 


^  hi 


^ 


ji   ;  ji  i    '">■"- 


^^ 


1st  TENORS 
2nd  TENORS 
1st  BASSES 
2nd  BASSES 


M=^ 


ir    ^' 


^^ 


^^^i     ^J) 


^ 


..n 


■'AJ)     HJ)     l>^^ 


^15:    li 


MM: 


^■=^^==s= 


-^mm^ 


■written  C  :     sound         middle  C 


^ 


^^ 


# 


# 


B.M.Co.6244 


12 


II 


Wind  Instruments 


(£^  Keyed-Cylindrical  Tubes 


Soprauino  Clarinet  in  aI> 


CO 


Soprunino  Clarinet  in  F 


SOPRANINO  CLARINET  in  Eb 

figure  1, page  51 


iyopranitio  Clarinet  in  D 
figure  l,page  51 


Soprano  Clarinet  in  C 


SOPRANO  CLARINET  in  Bb 
figure  2,page  51 


SOPRANO  CLARINET  in  A 
figure  2,  page  51 


Transposition 


^ 


\'±^±^^ 


written  Ci 


^^ 


sound 


^ 


th-b- 


J  _^  -^  rrr 


^ 


/=  ^nit^ 


mm 


/=    '■ftllffi'; 


m 


^ 


^ 


^ 


J  i.r 


J_/  TVf 


^/<o  Clarinet  in  F 
(Bassetl-horn) 


ALTO  CLARINET  in  Eb 
figure  3,  page  51 


^W 


.-^=      ^lt^ff'^ 


^ 


r^w^t^^ 


^i       ■•A.V 


middle  C 


^ 


zfeb 


^^ 


^^ 


I"  W'  » 


I"       if        M 


At 


W  |r   ♦  #♦   *» 


B  MCo  6244 


Keyed- Cylindrical  Tubes  (Continued) 


13 


Transposition 


« 
a 

JO 


Treble-clef  notation 

BASS  CLARINETinC 
figure4,page  51 

Bass-clef  notation 


Treble-clef  notation 

BASS  CLARINETinB!) 
figure  4,  page  51 

Bass-clef  notation 


Treble-clef   notation 

Bass  Clarinet  in  A 
figare4,page  51 

Bass-clef  notation 


Treble-clef  notation 

Contrabass  Clarinet  in  F 

Bass-clef  notation 

Treble-clef  notation 

Contrabass  Clarinet  in  Ep 

Bass-cJef  notation 

Actual- sound  notation 

CONTRABASS  CLARINETinC 
figure  5,  page  51 

Octave  notation 


1st  Transposing  notation 

CONTRABASS  CLARINET  in  B|> 
figure  6,page  61 

2nd  Transposing  notation 


l^^Mf 


B.M.Co.6244 


i't 


(b)Keyed-Coiiical  Tube 


Transposition 


E 

J 


(2)0ciirimi 


PICCOLO  in  r)\> 
figure  6, page  59 


PICCOLO  inC 
figure  6,page  59 


U-         .8 : 

E,  -  JH 

-Tt 

\Smiill  Flute  in  Eb]  fjh  ■■'  '     ^^^^ 

e  in  D\>  jt  ..'■'  p"     P" 

7,  page  59        0T>  .  ■-•  ■        '  := 


written  C 


^^# 


let 


Flute  i 
figure ' 


FLUTE  inC 
figure  7,page  59 


Altu  Flute  in  G 

al&o  caUtd  ''Bass-ftittf^* 

figure  8,  page  59 


{Z'Bass  Flute  inC 


(4)  Piccolo    Fife  in  Eb     ^^fl^'fai    p^ 
also  called  in"F"  fih     T'     T  z;::= 


$ 


(4)  Fife  in  A\> 
also  called  in"Bb" 


^^%^ 


(4)  Fife  in  eI>               itKf"^^)      ^^^ 
also  called  in"F"  T ~\j-"' 


L^^-M^ 


^  pi^ 


i  "    li    H- 


!K    I'   '" 


iK^^^L^ 


^rt 


=W: 


middle  C 


^^ 


i 


*i^ 


*•»'« 


~g~ 


i^ 


i 


1^ 


^ 


i 


:*!= 


i:=-j 


C^l 


(1)  The  Flageolet  is  employed  id  Handel's  "Acis  and  Galatea','  Cluck's  "Die  Pilgrim  von  Mekka','  Mozart's  "11  berraglio'  and 
few  other  works. 

(2)  The  Ocarina  may  be  appropriately  employed  as  a  "Cuckoo-instrument'.'  Other  sizes  of  Ocarinas  are  also  found,  tuned 
higher  or  lower  than  the  one  above. 

(3)  Anew  instrument, recently  invented  by  A.  Alhisi  (Flutist  of  "La  Scala','  Milan),  which  has  proved  very  satisfactory. 

(4)  The  FifesCFlutes  with  six  holes  and  without  keys;  can  produce  only  the  wri^/en  diatonic  scales  in  D-  major  and  G  -major 
These  instruments  are  commonly  called  by  the  actual  key-  note  given  by  their  written  D;  thus  the  first  and  thirdFifis  in  El>are 
called  "in  F.'and  the  second  in  A!>  is  called"in  Bk" 


B.M.Co.6244 


Keyed- Conical  Tube  (Continued) 


15 


Transposition 


ISopranino  Su.vophone  i 


\Sopranino  Saxophone  in  EpJ 


Soprano  Saxophone  in  C 


SOPRANO  SAXOPHONE  in  BI> 
figure  9, page  69 


Alto  Saxophone  in  F 


ALTO  SAXOPHONE  in  Eb 
figure  10, page  59 


Tenor  Saxophone  in  C 


TENOR  SAXOPHONE  in  B\> 
figure  11, page  59 


Baritone  Saxophone  in  F 


BARITONE  SAXOPHONE  in  Eb 
figure  12, page  59 


Bass  Saxophone  in  C 


Bass  Saxophone  in  Bb 


br      ^ 


BM  Co   62  4  1 


16 


Keyed- Conical  Tube  (Continued) 


Tranposition 


OBOE 
fignre  13,  page  60 


Oboe  d'Amore 
(Jfez  to -Soprano  Oboe  in  A) 


ENGLISH  HORN 

(Alto  Oboe  in  F) 

figare  14, page  60 


Baritone  Oboe 
(also  called  "Heckelphone") 


\Pagottinq\ 
(Small  Bassoon  in  0) 


BASSOON 
figure  16ipage  60 


CONTRA-BASSOON 
figure  16, page  60 


^opratiino  Sarrusopkone  in  Ew 

\Sopra7io  Sarrusopkone  in  BIjJ 

\Alto  Sarrusophone  in  Ebl 

[TVMor  Sarrusophone  in  Bb] 

Baritone  Sarrusophone  in  Eb 
Bass  Sarrusophone  in  Bb 


modern  notation 
BASS  SARRUSOPHONE  in  C 
or  sinaply  "Sarrusophone" 
figure  17,page  60 

modern  notation 
CONTRABASS SARRUSOPHONE  in  C  za 

or  simply'Cuutra-barrusophone"  :^ 

.  figure  18, page  60 


(1)  Wagner  made  use  of  the  actual-sound  notation  in'Tarsifal'.' 
B.M.Co.6244 


£ 

B 
O 

a 

■a 


Keyed-Conical  Tube  {Continued} 


17 


Transposition 


o 

e 


^opranino Bugle  in  eM 


VSoprano  Bugle  in  BbJ 


Vs  op  ratio  Bugle  i 


\Alto  Oph icleide in FJ        ^ i 


VaUo  Ophicleide  in  E 


^ass  Ophicleide  in  c\         ^£. 


^ass  Ophicleide  in  Bb]         V'  .^ 


fCow/rairtss  <7;?Ajf/e?rfej>iF]  ^V^ 


[CoTt/raAflss  Ophicleide  iti  eU  2 


[S'erpcnF] 


Uiussian  Bassoon]  ^ 


Abte.  The  obsolete  instruments  contained  in  the  above  table.are  the  precursors  of  the  modern  valve  instruments.  Their  parts 
still  fonnd  In  old  orchestral  and  band  scores, are  now  Riven  to  Saxhorns  or  Tubas, which, in  intonation  and  tonal-quality,  are' 
farsupeiryfj  -y-iir  archaic  relatives. 


B.M.Co.6244 


IS 

(c)Three-valve:  Long  Conical  Tube 

i^orn  in  Z-alto\ 
^orninY^-alt^ 
^orn  in  Aj 
\Horn  in  ApJ 

1^0  r«  in  Gj 

(l)  (2)  (3) 
HORN  in  F 
figure  19,page  16 

Horn  in  E 


Transposition 


c 
o 
e 

0 
e 

a 

a 


HORN  in  Eb 
figure  19,page  76 


Note.  The  obsolete  instruments  — included  in  f his  section  to  simplify  the  classification  —were  inreaIitynatural-horns(without  valves). 
Dot  pocsessiog  thechromatic  scale.but  only  the  first  harmonic  series. (See  page  37) 

(1)  Alto  called"French  Horn'.' 

(2)  At  the  present  time,  an  instrument  called  the  "Double-horn"  is  largely  used  by  Horn- players.  It  is  a  Horn  in  F  with  an 
extra  set  of  Tubes, controlled  by  a  special  valve;  when  this  valve  is  pressed  by  the  player's  thumb, the  intonation-key  of  the  In- 
fit  rnment  is  changed  from  F  to  B-flat  Alto.thus  enabling  the  performer  to  play  high  passages  with  greater  ease  of  execution. 

(3)  In  former  years,  the  Bass- clef  notes  of  the  Horns  were  written  an  octave  lower  than  the  above  correct  modern  notation. 


fi.M.Co.6244 


(d)  Three-valve:  Short  Conical  Tube 

J  So, 


Transposition 


19 


Sopravino  Suxhorii  in  £  >  £f  _■■"'  "[)      TT 

(The  cuiiical  bore  Eb Cornet)         /jk     i  ■■■  '      ^^^ 

Iigureao.pagc  76  ''^  ^  —   .■■•' 


I?- 


RANO  SAXHORN  in  Bb       ^  — 

e  conical  bore  BbCornet)  mi 

ures21and22,page76  if  -D  ,  —  ...•■■■ 


SOPRANO ! 
(The< 
figu 


MEZZO-SOPRANO  SAXHORN  in  ^\f 

(The  Flugelhorn  or  valve  Cugle 

figure  23, page  76 


yAlto  Saxhorn  in  ¥\ 


ALTO  SAXHORN  in  Eb 
figure  24,page  76 


TENOR  SAXHORN  in  Bk 
figure  25, page  77 


BARITONE  SAXHORN  in  Ep    ^ 
figure  26, page  77  35 


Modern, actual-sound  notation 

Baas  Saxhorn  in  F 
French.transposing  notation 

Modern, actual-sound  notation 

BASS  SAXHORN  in  Eb 
figures27&29,p.77&78 

French.transposing  notation 

Modern, actual-sound  notation 
Contrabass  Saxhorn  in  C 
French, octave  notation 

Modern, actual-sound  notation 

CONTRABASS  SAXHfjRN   in  Bp 
figures  28A30,p.  77  i78 

French, transposing  notation 


fi.ll.Co.6244 


20 

(e)Three-valve:  one-third  Cylindrical 
and  two-thirds  Conical  Tube 


JO 


C 


CORNET  in  Bt 
(The"Cornet-a-pistons"in  Bl>) 


CORNET  in  A, 

(The"Cornet-a-pistons"in  A) 


^ 


tt        tl 


m 


»«■' 


^ 


,■2        «, 


IeI 


H^--" 


Transposition 


written  C 


sound 


f-      if    H 


^ 


a 


^^ 


Four- valve:one-third  Cylindrical  and  two-thirds  Conical  Tube 


>l//o  T'/'*!?  1)1  e!) 
figure, 31  page  79 


Tenor  Tiiha  in  Bl> 
figure, 32  page  79 


BARITONE  TUBA  in  B[. 
abbreviate  d"B'i-Tuba"tThc  Euphonium- 
figure  38,page  79 


Bnss  Tuha  in  F 

a  bbreTiated"F-Tub  a" 

figure  34, page  79 


BASS  TUBA  in  Eb 
abbreviated"  Eb-Tiiha" 
figure  34,  page  79 


:: :      o--' 


I'/th*!': 


1,5     ^- 


^ 


Co7itrabass  Tuba  in  C 

abbreviated"C  C-Tuha" 

figure  35,page  79 


CONTRABASS  TUBAinBb 
abbreviated  "BB'7-Tuba" 
figure  35,  page  79 


m 


s 


i 


-WUl^ 


^^ 


(1) 


o-' 

unison 


♦*  a 

S  •* 
(ft  — 

a  X 


91     9 

1-1  ^^ 


a 


Te?ior  Tuba  in  B  (b1)) 


Bass  Tuba  in  F 


rcwo;-  Tuba  in  E  (e1>) 


5ass  Tuba  in  B(Bb) 


^^ 


^^ 


^ 


^ 


^ 


^ 


^ 


ztt: 


^ 


HbF= 


^^ 


middle  C 


^ 


^ 


I 


1^ 


-g- 


P 


(1)  See  foot-tu)te  No.4,page  63 
B.M.Co  6244 


(f)  Three-valve:'*  two-thirds  Cylindrical 
and  one-third  Conical  Tube 


Modern  Trumptt  in  C 


Modern  TRUMPET  in   Bt> 
figure  36, page  80 


ModernTRjMPET  in  A 
figuri;  SB.pagc  80 


Transposition 


21 


\Trumpet  in  GJ 

Tr  II  in  pet  ill  F 
figure  37,page  80 

\Trumpet  in  E 


TRUMPET  in  Et> 
figure  37,  page  80 


Bass  Trumpet  inC 


Baas  Trumpet  in  BI»'^^ 
(saiii(.' tubingasihi-  Ti  nor  Trombone) 


(li  The  obsolete  instruments,  included  in  this  section  to  simplify  the  classification, were  in  reality  Natural-Trompets   (without  > 
valvi-si. 
(2)See  fuotnote  No.l.page  28  B.M.Co.6«4* 


2Z 


Four-valve:  two-thirds  Cylindrical 
and  one-third  Conical  Tube 


Transposition 


; 


ai 
u 

■a 

a 
o 

a 

0. 
a 
o 

o 

XI 


Trcble-clef  notation 

Tenor{valve)TrombonetH  Bb 
figure  38,page  80 

actual  sounds  Bass-clef  notation 


i       "^H 


*f   -■ 


written  C 


^^ 


sound 


M 


middle  C 


m 


m 


Bass'valre)  Trombone  I'ji  F 


m 


^iA 


Contrabass  [value)  Trombone  in  fib 


(2) 


^ 


^^ 


Slide:  two-thirds  Cylindrical  and  one-third  Conical  Tube 

p/^o  Trombone  {in  E^  \^        /  — 


TENOR  TROMBONE  fin  Bb)      ^ 
figure  39, page  80  ''^~ 


Bass  Trombone  in  G 


ffpf^ 


BoththeTenor-and  Bass-cleff 
are  alteraatively  used 


*j:       ,-'"      f    I 


BASS  TR0MB0NE(in  Bband  F)    ^ 


_13L 


Vq      ^f.  ^i 


(Large  bore  Bb  Trombone  with  F- valve) 
figure  40, page  80 


i.tifoi']  -■" 


M 


^ 


Contrabass  Trombo 
Employed  by  Wag 


^one  in  fib 
'agner       J 


impracticable  as  a  slide  instroment 


(l)The  Tenor  Valve  Trombone  in  Bt>, the  tubing  of  which  corresponds  in  length  and  diameter  to  that  of  the  Bass  Trumpet  In 
B!>,is  now  generally  employed  in  place  of  this  instrument  in  Wagner's  "Ring."  Tenor(valve)  Trombones  in  C-onetone  high- 
er than  the  above  instrument  — are  also  made. 

(2)  Known  in  Italy  as  'Trombone  Basso-Hrdi"  SiUer  Giuseppe  Verdi,  who  first  introduced  it  in  "Otello"2lnd  then  in"Fal6taf  f" 

(3)  See  explanauory  notc.page  70 


B.M.Co.a244 


INTRODUCTION 


23 


III 


Polyphonic-Wind  Instruments 


(a) Without  Keyboard  or  Stops 

a  Musetta  or  Melody 


Cki 


a       BAGPIPE 
J      Drone-pipes 


0 

^ipproxifflat 
compass 

e 

iJ 

-»■ 

diatooic 

1 

Differently  tuned.freqaontly 
inB-flat,FandE-flat. 


(b)  With  Keys  and  without  Stops 


i     ACCORDION 
•i:     (or  Coneertina) 


# 


approzijoiate  compass 


Compass  aadfiogenog  system 
varying  according^  to  makers. 


(c)WIth  a  Keyboard  and  Stops 


Written  compass 


celeste      forte 
Right-hand  stops©      (D        ®       ®      ©       (Dor® 


pitch 


(1) 


04  O     .' 


I    ezpressi 


«  HARMONIUM    Jl  ezpressioo         /     grand  JenCall  the  stops) 
Centre  stops  (^ 


fl'^-  / 


Left-hand  stops  ©or  ® 


CQ  U  CO  U 

(^     ®     ®     ®     (i) 

forte         ^^Jf'"'   ""  ♦  "■•  »■ 


16 


effect 


STi^blgher 


actuU  sounds 


8'»  lower 


(l)  The  length  in  feet  given  in  this  table  is  equivalent  to  the  pitcbur  h'nglh  of  the  Organ 
pipes(See  page  24) 


B.M.Co  6244 


24 


INTRODUCTION 


(d)  With  three  or  four  manuals  (keyboards),  pedal  and  stops. 


written  compass 


pitch, or  length 
of  longest  pipe 


4,      Manuals 
a. 


-       ORGAN 


Pedal 


..-■^u^ 


m 


\ 


8' 
IB' 

32- 


effect 


two  8^^  higher 
B^a  higher 

actual  sounds 
8va  lower 

two    8ve  lower 


FOUNDATION  STOPS  (Flue) 
Large  or  Medium  Scale  (a) 


Manuals- 


Pedal 


Classification  of  Registers  or  Stops » 

Certain  groups  of  stops,  each  composed  of  pipes 
similar  in  quality  or  construction,  or  both,  are 
common  to  nearly  all  Organs  in  the  United  States; 
although  instruments  more  recently  built  show 
radical  departures  in  general  tonal  disposition  from 
the  older  ones.  The  nomenclature  of  stops  in  this 
country,  however,  is  a  matter  in  which  Organs  of 
different  builders  often  vary  materially.  A  list  of 
all  the  stops  found  in  the  instruments  of  a  half- 
dozen  of  the  most  prominent  builders  would  be 
unduly  extended  and  confusing  to  the  layman.  The 
following  table  is  intended  to  group  only  the  princi- 
pal stops  (employing  conventional  American  and 
English  nomenclature),  without  regard  to  the  special 
designations  which  may  be  given  to  any  of  them  to 
indicate  some  nuance  of  color  or  quality. 

The  figures  opposite  each  stop  represent  the 
"speaking  length"  in  feet  of  its  lowest  pipe;  or  of 
the  lowest  of  each  series,  where  more  than  one  series 
is  indicated.  Thus  the  name  of  a  stop  indicates 
approximately  its  quality,  and  may  suggest  its  in- 
tensity; the  number  designates  the  pitch. 


'From  information  kindly  furnished  by  Mr.  Wallace  Goodrich. 

'Large  Organs  have  three  or  four  kevl^oards,  called  manuals,  and  designated  Choir  (lowest).  Great  (middle),  and  Swell  (upper). 
If  there  be  a  fourth  manual  it  is  called  Solo,  and  is  placxcl  above  the  Swell.  The  pipes  of  the  Choir  and  Swell  (and  Solo)  are  usually- 
enclosed  in  separate  "swell-boxes,"  so-called,  wliich  are  actually  rooms  inside  the  organ  enclosed  on  all  sides  but  the  front;  vertical 
shutters,  operated  by  a  pedal,  may  be  opened  or  closed  to  effect  corresponding  variation  in  the  intensity  of  the  sound. 


Diapason 

16' 

,8' 

32' 

,  16',  8' 

(b) 

Octave 

4' 

8', 

4'  (Super-octave) 

Fifteenth 

2' 

Flute  (c) 

8', 

4' 

8', 

i'(b) 

Piccolo 

2' 

Bourdon  (</) 

16' 

8', 

4' 

32' 

,  16',  8' 

4' 

Smaller  Scale  (String-toned) 

Manuals 

Pedal 

Violone 

32',  16' 

Violoncello 

8' 

Gamba 

8' 

Salicional 

8' 

Dulciana 

16',  8' 

16' 

Violin 

4' 

Voix  Celeste  (e) 

8' 

Unda  Maris  (e) 

8' 

INTRODUCTION 


25 


MUTATION  STOPS   (Flue)  (f) 
Simple 

Manuals 


Quint 
Twelfth 


2%' 


Compound 


Pedal 


Mixture  (g) 

REEDS 

Manuals 

Pedal 

Tuba  or  Trumpet 

16',  8' 

32,'  16',  8' 

Clarion 

4' 

4' 

Bassoon 

16' 

Oboe 

8' 

Clarinet 

8' 

\ox  Humana 

8' 

Remarks 

(a)  By  "scale"  is  meant  the  proportion  of  a 
pipe's  diameter  to  its  length. 

(b)  Usually  these  so-called  Diapasons  in  the 
Pedal  are  actually  large  scale  wooden  Flutes. 

(c)  These  stops  exist  in  great  variety,  both  as 
regards  quality,  intensity  and  nomenclature. 

(d)  Stopped  Flute  pipes.  Often  called  Gedeckt; 
or  improperly,  although  commonly,  Stopped  Diapa- 
son (if  at  8'  pitch). 

(e)  Vibrating  stops;  two  ranks  of  pipes,  each: 
one  tuned  slightly  sharper  than  the  other,  but 
sounding  simultaneously. 

(/)  Giving  from  one  to  six  or  more  of  the  natural 
harmonics  of  the  fundamental  tone  played;  the  fun- 
damental tone  being  absent,  unless  provided  by 
another  stop.  Simjilc  mutation  stops  have  one  pipe 
for  each  note  plaj-ed;  compound,  two  or  more. 

(g)  Pipes  usually  of  modified  Diapason  quality, 
so  voiced  as  not  to  produce  harmonics  of  their  own. 
Variously  named  according  to  disposition  of  ranks. 


26 


INTRODUCTIOxN 


IV 


Percussion  Instruments 


(a)  Indeterminate  Pitch 


With  membrane. 


Of  metal . 


Of  wood. 


Special  construction . 


SIDE  DRUM 

Ridlante  or  Tenov-drum 

BASS  DRUM 

TAMBOURINE 

Tabor 

Indian-dnim 

Chinese-drum 

TRIANGLE 

CYMBALS 

TAM-TAM  or  GONG 
.  Sleigh-bells 

CASTANETS 

Rattle 

.  Whip-  or  Slap-stick 
J  Wind-,  Water-,  and  Crash-machine 
I  Other  noise-imitations 


Note. — The  rhythmical  notation  of  all  these 
instruments  is  written  on  the  ordinary 
staff,  or  (in  score)  on  a  single  line,  with  the 
conventional  treble-  or  bass-clef. 


(b)    Changeable   Pitch — with  membrane 


TIMPANI     ^ 


Large 


Middle 


T*r 


^^ 


„■«> 


xr: 


Small 


Si 


o  (ii»  *^ 


(l)Generally,  in  band,  only  two  Timpani  aro  used:  the  Large  and  the  Small. 


27 


(c)  Fixed  Pitch 

'   C       Aiictetit-cymbals 

'maiti'  expressly  in  the  required 
p\tch) 

Chimes 
(made  expressly  in  the  required 
pitch) 


TUBULAR  BELLS 


•  ttetc 


Transposition 


Japanese  bells 


Anvils 
(made  expressly  in  the  re- 
quired pitch,orin(fe^er»(«>io<«) 


BELLS  or  CARILLON 

(ilallets-Olockeaspiel) 


XYLOPHONE 


a 

o 


Belts  or  Carillon 
(Keyed- Glockenspiel) 


Typophone  or  Dulcttone 
(Steel- tuning- forks) 


(1) 


CELESTA 
(Steel  bars  with  wooden  reso- 
nators) 


Keyed  Hurmontca 
(Glass-plates) 


V^ 


.o. 


^0 


5^ 


i 


^^ 


0)  Employed  ind'Iody's"Cbaot  delaClocbe'.' 
B.M.Co.6244 


i"     IS 


a 


4^ — [^ 


& 


^ 


:t51 


J?L 


m 


m 


28 


(a)  Plucked 


V 


MANDOLIN 

and 

Mandolin- Banjo 


"Transposed"notation 

Tenor-Mandola 
and 

Tenor -Banjo 
"Non-transposed"octave-notation 


MANDOLA 
(also  called  Octave-Mandola) 


"Transposed"notation 

Mundo-Cello 
and 

Cello- Banjo 
"Non-transposed"two  octave-notation 


Bass-clef  notation 

Mando-Bass 
Treble-clef  notation 

BANJO,  Regular 

guitar'^' 

and 
Guitar-Banjo 

(2) 
Steel-Guitar'  ' 

Ukulele 
Bullalaika 

Melody -strings  j 
ZITHER 

Accompaniment 


Stringed  Instruments 
>  lilt 


Transposition 


-ttS- 


m 


^^ 


Sia 
.a. 


Generally  tuned  a  minorthird  above  the  writ  tennotatioi , 
like  the  Et-Sopraninos. 
Also  written  in  actual  sounds:  minor  third  higher. 


Occasionally  tuned  one  tone  above  or  below  thewTitten 
notation. likethe  D-Sopraninos  and  Bh-  Sopranos,  re  - 
spectively. 

This  is  the  usual  tuning  of  the  ordinary  instrument.  Other 
types  of  Ballalaikas  are  also  found  ,wnich  vary  each  other 
in  their  Eize.number  of  strings  and  notation. 


The  melody  strings  sound  as  written 


i"     4 


"leT 


i 


-^ 


(1)  There  are  "Harp- Guitars"  so  called,with  as  mi^ny  as  ten  Ofen  Bass-strings,fromthe  E-flat  downward,chromaticaUy,in  additioa 
to  the  regular  six  strings. 

(2)  Played  with  a  steel  bar  and  three  steel  picks. 
B.M.Co.624*, 


Plucked  [Continued) 


29 


Transposition 


Irihh-Harp 
Single  action thumh-lever 


harmonics 


Sometimps  tuned  in  A-flat  major 

■fe ^ 


tuning  of 
the  strings'! 


diatonip'C- major  or  A?  major 


The  Irish-Harp  produces  the  diatonic  scale  of  C- major  or  A-flal  major.accordingto  the  way  it  is  tuned.  With  the  single 
action  every  string  -independently  from  its  octaves  -can  be  raised  a  half  tone 


HARP 

Double  action  with  pedals 


harmonics 


tuningof 
the  strings' 


^ 


diatonic.C-flat  major 


^ 


K=r 


The  tuning  of  the  strings  of  the  Harp  will  produce  the  diatonic  scale  of  C-f  lat  major.and  by  the  use  of  seven  pedals  at  the  base 
of  the  instrument, each  pedal  acting  on  all  the  strings(in  octaves)  uf  the  same  letter-name, all  the  notes  of  the  compass  can 
be  raised  a  half-tone  or  a  whole  tone, thus  enabling  the  player  to  tune  the  instrument  in  any  desired  key. 

1\\tgltssundo  —  which  frequently  occurs  in  Harp-music —ispossible  in  every  major, minor  or  alteredscale,andby  the 
useof  homophones 'enharmonic  unisons)  ^/zssawrfj  are  also  obtainable  on  all  the  chords  of  the  diminished- seventh,  and  on 
some  other  four-note  chords, as  follows:  — 


Diminished-7th,or 
rootless-minor  9th 


Dominant-7th,or 
augmented  (Uh and  5th 


Supertonic-7th  in  major,  or 
subdominant  Tth  in  minor 


Supertonic-7th  in  minor  or 
rootless-major  9th 

'Si 


j^.l'"# 


Chromatic  -Hii  rp 

This  instrument, recently  invented  by  F  Lyon,of  Paris.is  without  pedals.having  a  string  for  each  semi-tone  throughout  the  entire 
compass  Very  few,if  any.of  the  modern  harp-players  have  successfully  mastered  the  new  technique  required  for  theplayiiig  of  thi* 
instrument 


B  M.Co  6244 


30 

(b)Percussive 

PIANOFORTE 


Stringed  Instruments  {Continued) 


.^ 


Hiaigarian  Cembalo) 
(dulcimer  or  zimbalon)) 


(c)  Bowed 

VIOLIN 


m 


Compass  for  general  orchestral  use 


strings 


^  nil  ,■■--• 


(■rdinary  tones 
{non-harmonic) 

..■   Q-      8 


ir 


harmonics 


ai    :e 


.,»<«^"* 


VIOLA 


Viol  (I  d  'Amove 


Viola  dii  gamba 


VIOLONCELLO 


CONTRABASS 
(or  Double-bass) 


lo 


Scfl 


-zrr- 


:I>  a.. 


4cr 


^_ ■■■■•"i%m-r^ 


g 


natur" 


Tor  urtifi':'-''^  D  - 


actual 
sounds 


actual 

sounds 


actual 
sounds 


actual 
sounds 


actual 
sounds 


sounding 
octave  lower 


+not  satisfactory 


iVb?e/Theorrf2««ry#o«es(non-harmonic),the««/'«rff///rt/-wo7nVsfplayedonanopenstring)andtheor/?/2czV//^ffr7«o«zcs(played 
on  a  stopped  string)  form  the  Harmonic-seriesfsee  paragraph  2,  page  37 )  of  the  bowed  instruments,as  fol  lows: 

Partial-tones 

1st  _The  string  vibrates  throughout  its  whole  length, producing  the  ordinary  tones  or  fundamentals 

vibrates  into  two  equal  sections  by  lightly  touching  the  8^'^  which  produces  its  unisou.viz.the  8^<-"  of  the  fundamental. 

"         "   three     "  "         "         "  "  ..   5th      "  "  ■>     8'^,     "     "  12th  "    ■'  ■■ 

"    four      "  "         "        "  "  I.   4th      "  "  "     12th,    "     "  15th  "     •  " 

[major 
LSrd      "  "  "     15th,   "     "  17th  "    ■■ 

[ininor 
3rd      "  "  "     17th,  >•     "  19th'     " 

The  natural  harmonics  are  generally  written  in  actual  sounds  and  indicated  by  this  sign  o  above  the  notes. 

The  art«/»cia/A«r/«07J«csused  in  orchestraparts.are  formed  exclusively  of  4th  partial-tones; —The  string  is  stopped  hy 

the  first  finger  and  lightly  touched  by  the  fourth  finger  a  perfect  fourth  apart,thus  producing  the  12th  of  the  touched     note, 

viz^he  15th  of  the  stopped  note.  These  harmonics  are  usually  written  in  thei  r  finger-position  with  or  without  the  resulting 

notes  above, as  follows:  •  i         I  .  .         i 

effect  (^        #J        ^  ,^        j(^       ^)  J        jjj        ^, 

written    fis^ff       ..b^        E.       I!<j  In.       .fcj        ,»       ''J-  L .        u .        «         letc. 


2nd 
3rd_ 

4th_ 

5th_ 
6th_ 


five 
six 


B.M.Co.6244 


INTRODUCTION 


31 


The  Band  Instruments 


efficiency  in  the  rendering  of  marching  music, 
though  it  also  possesses  sufficient  tonal-elasticity  to 
render,  to  an  adequate  artiste  degree,  military 
program-music. 

Changes  or  substitutions  may  be  found  necessary 
in  the  Military  Band  according  to  circumstances. 
For  example:  when  a  Military  Band  of  hdy  players 
is  to  be  employed  more  for  marching  purposes  than 
for  concerts,  its  martial  character  may  be  increased 
by  substituting  the  following  four  brass  instru- 
ments : — 

one  Soprano  Saxhorn  (B?  Cornet) 
one  Mezzo-soprano  Saxhorn 
one  B-flat  Tuba  (Euphonium) 
one  E-flat  Tuba 

in  place  of: — 

one  Oboe  (2nd) 

one  Sarrusophone  (2nd) 

one  Bass  Clarinet 

one  Contrabass  Clarinet 

If,  on  the  other  hand,  the  Military  Band  is  to  be 
employed  mostly  for  concert  work,  or  as  an  accom- 
[lanimcnt  for  voices,  it  will  be  rendered  more  flexible 
by  the  introduction  of  three  or  four  wood-wind  instru- 
ments (including  another  Bass-Clarinet  and  the 
Contra-Sarrusophone)  in  place  of  three  or  four  of 
the  brass  instruments. 

Whenever  any  of  the  given  instruments  of  the 
Military  Band  are  lacking,  substitution  will  then 
be  made  with  other  instruments  that  are  the  most 
suitable  for  the  purpose.^    For  example: — 

'Other  intermediate  numerical  proportions  and  larger  combinations,  up  to  ninety  players,  with  tlio  ncccssar>'  information  thereto, 
will  be  given  in  Part  11. 

Mn  all  these  substitutions  the  band  parts  remain  the  same,  excepting  the  necessary  transposition  for  the  instruments  tuned 
differently,  as  f(ir  in:;tance  the  .?rd  and  4ih  lMl.it  Clarinets  from  the  Alto  Clarinets,  5th  lower;  the  B-tJat  Cornet  or  Trumpet, 
from  the  Alto  Saxhorn,  5th  Iow^t;  etc.  (see  I'art  II). 


In  addition  to  the  foregoing  brief  description  of 
all  the  instruments  in  general,  a  special  table  of  the 
band  instruments  exclusively,  will  be  given  (pages 
34  and  35).  In  this  table  the  various  groups  are 
arranged  in  score  order,  and  the  compass  character- 
istics of  each  instrument  is  more  fully  described  by 
means  of  notational  signs,  thus  providing  the  stu- 
dent with  a  complete  and  very  useful  chart  to  refer 
to  when  scoring  for  band. 

The  names  of  instruments  are  preceded  by 
special  symbols,  the  use  of  which  serve  to  simjilifN- 
the  work  on  scoring  exercises  (see  Parts  1 1  and  III). 

At  the  extreme  right  of  the  table,  six  of  the  best 
balanced  wind-instrument  units  are  given;  i.  e. 
the  small,  medium  and  large  Symphony  Band  of 
twenty-five,  fifty  and  seventy-five  players,  respec- 
tively, and  the  small,  medium  and  large  Military 
Band  of  twenty-two,  thirty-five  and  fifty  players, 
respectively.' 

The  large  SYMPHONY  BAND  of  seventy-five 
players,  is  modeled  after  the  Symphony  Orchestra 
with  elements  which,  acoustically,  are  the  most 
suitable  for  outdoor  performance.  With  this  en- 
semble of  instruments,  and  with  competent  players, 
modern  works  of  the  most  intricate  polyphonic 
structure  can  be  gi^■cn  (on  a  properly  built  platform) 
outdoors,  with  a  standard  of  artistic  attainment 
equal  to  that  of  the  Symphony  Orchestra  indoors. 

The  large  MILITARY  BAND  of  fifty  players 
uses  the  same  and  practically  all  the  parts  of  the 
Symphony  Band,  but  with  the  Grand  Quintet  con- 
siderably changed  in  its  proportions  and  instru- 
ments. This  ensemble,  designed  for  infantry  bands, 
or  similar  organizations,   attains  the  best  possible 


32 


INTRODUCTION 


Alto  Saxophones,  or  3rd  and  4th  Bb-Clarinets  in  the 

absence  of  Alto  Clarinets; 
Tenor  or  Baritone   Saxophones  in  the  absence  of 

Bass  Clarinet; 
Contra-Sarrusophone  in  the  absence  of  Contrabass 

Clarinet; 
Soprano  Clarinet  in  the  absence  of  Soprano  Saxo- 

})hone; 
3rd  and  4th  B^-Cornets  or  B^-trumpets  in  the  ab- 
sence of  Mezzo-Soprano  and  Alto  Saxhorn ; 
Valve  Trombone  in  the  absence  of  Tenor  Saxhorn; 
E!>-Alto  Saxhorns  in  the  absence  of  E>-Horns; 
Bass  and  Contrabass  Saxhorns  in  the  absence  of 

E!'-  and  BB'?-Tubas;  etc. 

When  marching,  the  oboists  generally  play  some 
wind-instrument  other  than  the  Oboe,  or  else  the 
Cymbals;  and  the  timpanist  plays  the  RuUante 
(Tenor-Drum)  or  an  additional  Snare-Drum. 

The  Sarrusophones  (see  page  60)  not  only  ha\-e 
the  advantage  of  possessing  greater  sonority  than 
the  Bassoons  when  used  outdoors,  but  also  they  can 
be  played  while  the  performer  is  marching.  If,  how- 
ever, the  Bassoons  are  used,  instead  of  the  Sarruso- 
phones, another  instrument  must  then  be  assigned 
to  each    Bassoon   player   for  use  when  marching. 

From  the  foregoing  comment,  it  will  be  concluded 
that  the  main  point  which  distinguishes  the  Sym- 
phony Band  from  the  Military  Band  is  that  the 
first,  though  apt  to  be  reduced  in  its  size,  the  char- 
acter of  its  instrumentation  remains  unaltered ; 
while,  the  second,  is  variable  both  in  its  number 
and    kind   of   instruments. 

Music  scored  especially  for  the  Symphony  Band 
(see  Parts  II  and  III)  will  undoubtedly  give  the 
best  possible  results  under  any  circumstances,  such 
as  the  reduction  or  substitution  of  instruments  in 
the  Military  Band.  The  current  band-publications, 
however,  with  little  or  no  change  in  the  parts,  are 
also  suitable  for  the  Symphon>'  Band  itself: — 
suitable  in  a  degree,  at  least,  not  inferior  as  the>' 
may  be  to  any  other  form  of  band. 

The  distribution  of  the  parts  of  other  publications 
to  the  instruments  of  the  Symphony  Band,  is  sim- 
plified by  stamping  the  symbols  of  the  respecti\e 
instruments  (pages  34  and  35)  on  every  band  part. 

The  following  shows  the  correct  distribution  of 
the  band  parts  which  are  generally  issued  by  Ameri- 
can and  English  publishers — each  part  being  pre- 
ceded by  its  proper  symbol.  The  parts  marked  by  * 
are  not  usually  found  in  every  publication: — 


Av4 — Eb  Clarinet 

Ai — Solo  (or  1st)  B!>-Clarinets 

Ai' — 1st  (or  Repiano)  B:j-Clarinets 

A2 — 2nd  Bb-Clarinets 

A2' — 3rd  Bb-CIarinets 

As — Alto  Sa.xophones  or  *Alto  Clarinets 

A4 — Baritones  ^'  or  *Euphoniums, 

or  *Br)-Bass  Clarinets  (transposed) 
As — Basses  (or  Tubas) 

Bi — 1st  Flute  or  Piccolo 

B2 — ^*2nd  Flute  or  Piccolo 

Bs — *3rd  Flute  or  Piccolo 

Ci— 1st  Oboe 

C2— *2nd  Oboe 

Di — *Soprano  Sa.xophone 

D2 — Alto  Saxophone 

Ds — Tenor  Saxophone 

D4 — *Baritone  Saxophone 

El — 1st  Bassoon 

E2 — *2nd  Bassoon 

Es — *Contra-Bassoon  (or  Basses) 

Fi — 1st  Eb-Horn  or  Alto 
F2— 2nd  Eb-Horn  or  Alto 
Fa — 3rd  Eb-Horn  or  Alto 
F4 — 4th  Eb-Horn  or  Alto 

Gi — 2nd  (or  3rd)  Bb-Cornet  or  Trumpet 

G2  / 

p    \    — 3rd  (or  4th)  Bb-Cornet  or  Trumpet 

Hi — 1st  Trombone  or  Bb-Tenor 
H2 — 2nd  Trombone  or  Bb-Tenor 
Hs — 3rd  Trombone  or  Bb-Bass 
H4 — *4th  (or  Bass)  Trombone 

Ii — Solo  Bb-Cornet 

I2 — Solo  (or  1st)  Bb-Cornet 

Is — 1st  (or  2nd)  Bb-Cornet  or  *lst  Flugelhorn 

I4 — *Solo  Eb-Alto  or  *2nd  Flugelhorn 

u\ 

h 
h 


Baritone  »  (one  or  1st  and  2nd) 


-Basses  (or  Tubas) 


Ji — *Timpani 
JJ{ -Drums 


Ki 

Li- 


-*Special  instruments 
-*Harp 


INTRODUCTION 


33 


EXPLANATORY  NOTE 


In  the  following  table,  the  compass  given  for  the 
two  lowest  parts,  A4  and  A5.  are  playable  by  both 
the  instruments  of  the  Symphony  Band  and  those 
of  the  Military  Band,  excepting  the  high  notes  of  the 
Bass  Clarinets,  within  parenthesis,  which  are  to  be 
used  only  when  the  work  is  intended  to  be  performed 
exclusively  by  the  Symphony  Band.  The  abbrevia- 
tions: Sy.  B.  and  My.  B.,  preceding  the  names  of 
those  instruments,  signify  that  the  two  parts  A4  and 
As  are  to  be  played,  in  the  Symi)hony  Band, by  Bass 


and  Contrabass  Clarinets  and,  in  the  Military  Band, 
by  B!>-Tubas  and  Eb-  and  BB^-Tubas  respectively. 

The  low  notes,  within  parenthesis,  of  the  Alto 
Clarinets  are  to  be  avoided  for  the  time  being,  as  that 
part  may  be  taken  by  Alto  Saxophones  or  3rd  and 
4th  B-flat  Clarinets,  until  the  Alto  Clarinets  are 
more  generally  used.  "*" 

For  the  explanation  of  the  transposition  columns, 
see  Explanatory  Note  on  page  10. 


St 


o 

uo 

C 

o 

? 

o 

Q. 
"C 

o 

c 

CQ 

re 

X 

o 

i 

s 

N 

e* 

^ 

^ 

^               ^               N 

xC 

N 

M 

«H 

CO 

N 

^ 

^ 

M 

■rt 

^^ 

W 

N 

M 

?: 

^< 

iH 

N 

*» 

N 

o 
t) 
o 

0) 

C 

J3 
0. 

s 

t; 

m 

OJ 

^ 

ir4 

^                ^                 N                 «                 1^ 

« 

eo 

^ 

3 

N 

«ii 

^ 

if4 

«<4 

N 

nC 

N 

« 

C4 

^ 

N 

N 

« 

C 

C 

CQ 

o 
4:: 


o 
a 

a) 

C 

c 

Q 
C 


a 

o 
O 


•o 
o 

o 
o 
tn 


U 


X 
en 

w 

•a 

M 

O 

n 

o 


o 

< 
OS 

o. 
o 

(A 


2: 

o 

o 

s 

s 

a. 

o 

o 

X 

X 

< 

< 

(/> 

05 

o 

OS 

o 

z 

o 

X 
o. 
O 
X 

< 

u 
z 

o 
w 

03 


so 

o  o 

?  o 

Cl.  Ji 

O  Ul 

^  < 

a.  = 

< 


a? 

•  K 

<o 
q:o 
(-». 
z* 

c 


3' 

«j 

u 

<« 

z 

o 

H 

o 

*> 

u 

0. 

S-: 

3^ 

3    ■ 

c 

OS 

t/2- 

CE 

H 

Zr 

o 

X 

o 
z 

Ud 

Z 

o 

o 
o: 

(A 

< 


■  lu.tranjistii    '^- 


ol<31l 


poojft- 01003  ;n  QOijoes 


O  O 


«•   04   A. 


sscjg  111  nouo^s 


35 


N 


■«•    C« 


U 


N 


to     K« 


V*    N 


tJtzl- 


■  uuu 


ctr 

ari 

1.-T 
-Tu 

«_B 

o« 

o"^ 

(fl 

»       ca 

p^ni/i/MO^'sscig   III  noil^^S 


oja'anissnDjjj  jvi  DOlioas 


36  INTRODUCTION 


TO  THE  TEACHERS 

The  method  of  using:  this  treatise — i.e.  the  order  in  which  the  various  subjects  should  follow  each 
other,  the  kind  and  number  of  illustrative  examples  to  be  given  and  the  practising  e.xercises  to  be  assigned 
— should  vary  according  to  the  musical  ability  (natural  or  acquired,  or  both)  of  the  pupils. 

Together  with  this,  three  auxiliary  subjects  should  be  associated — the  necessary  accomplishment 
for  a  musician  in  any  branch  of  the  Art — namely: 

First: — Solfeggio,  ear  training  and  transposition,  i.e.,  time  beating  and  singing  of  the  notes  in 
actual  sounds,  in  the  treble-  and  bass-clef,  at  first,  and  then  in  the  other  five  clefs  (page  42),  using  the 
sj'Ilable-system :  Do,  Re,  Mi,  Fa,  Sol,  La,  Si. 

N.B. — Not  the  "movable-Do-system"  taught  in  some  public  schools — which  system,  in  the  practice  (playing  or  writing) 
is  of  no  use  whatsoever — but  the  French-Italian  system  in  which  C,  D,  E  are  always  Do,  Re,  Mi,  in  whatever  major  or  minor  key 
those  notes  occur. 

Second: — Elementary  Piano  playing  for  pupils  who  play  other  instruments;  or,  vice  versa, 
elementary  playing  of  a  wind  instrument  if  the  pupil  is  a  pianist. 

Third: — Harmony  and  elementary  counterpoint. 

The  pupils,  thus,  may  be  divided  into  two  classes: 

Class  A : — Those  who  have  already  learned  the  above  auxiliary  subjects,  and 

Class  B: — Those  who  merely  play  an  instrument. 
The  courses  for  the  pupils  of  Class  A  should  be  so  divided : 

First  course: — Parts  I  and  II  combined  (wind  instruments  and  instrumentation). 

Second  course: — Part  III  and  band  conducting. 
The  courses  for  the  pupils  of  Class  B  should  proceed  as  follows: 

First  course: — Part  I  and  primary  study  of  the  auxiliary  subjects. 

Second  course: — Part  II  and  advanced  study  of  the  auxiliary  subjects. 

Third  course:- — Part  III  and  band  conducting. 

Each  lesson  on  Wind  Instruments  and  Instrumentation  should  consist  of  the  study  of  a  number  of 
paragraphs  covering  one  of  the  different  points  in  the  chapter,  which  point  should  be  commented  upon  by 
the  iKipil  orally,  or  with  written  examples,  or  exercises,  similarly  to  those  appearing  throughout  the 
text.      For  instance — in  studying  the  first  paragraphs  in  chapter  I    (see  opposite  page): — 

(/) — "Write  the  harmonic-series  of  an  open-pipo  4  ft.  9  in.  in   length,  which   gives,  as  fundamental, 
first-space  A,  bass-clef." 

(2) — "State  the  length  of  a  stopped-pipe  required  for  producing  the  same  fundamental  (first-space  A, 
liass-clef)." 

(J)— "Play  on  the  Piano  the  harmonic-series,  up  to  the  10th  partial  tone,  produced   by  a  conical  tube 
instrument  which  gives  as  fundamental,  the  second-line  Bb,  bass-clef" — etc. 


CHAPTER  I 
ACOUSTICAL  PRINCIPLES  OF  THE  WIND  INSTRUMENTS 


I.  All  the  wind  instruments  are  subject  to  the 
natural  laws  of  the  sound-producing  pipes.  B>- 
varying  with  the  lip-pressure,  the  intensity  of  the 
blowing,  the  column  of  air  in  the  tube,  which  in  its 
entire  length  gives  the  fundamental,  or  first  partial 
tone,  may  be  divided  into  two,  three,  four,  etc., 


\ibrating  sections,  producing,  respectively,  the  har- 
monics (or  partial  tones)  Nos.  2,  3,  4,  etc.,  thus 
forming  the  harmonic-series  of  the  instrument. 

2.  The  harmonic-series    of    an    8ft. -C    open-pipe 
results  as  follows: 


# 


i 


^ 


:i|i 


Liliie-^ 


fei 


10 


11 


12 


13 


14 


15       1<> 


3.  The  harmonics  Xos.  7,  11,  13  and  14,  marked 
with  +,  according  to  our  equal-temperainent-scalc, 
are  not  in  tune,  and  therefore  not  used; — exception 
is  made  for  the  Horn  and  slide  Trombone  (see  ex- 
planatory note,  page  70). 

4.  The  longer  and  narrower  the  tubing  of  the  in- 
strument, the  larger  is  the  resulting  harmonic  series. 

The  cup-mouthpiece  instruments,  having,  more  or 
less,  a  very  long  and  relatively  narrow  tube,  can 
produce  an  extended  harmonic  series — the  Horn 
reaching  the  16th  harmonic;  whereas  the  keyefl 
wind  instruments — the  tubes  of  which  are  com- 
paratively short  and  large — rarely  extend  beyond 


the  2nd  and  3rd  harmonics,  thus  the  formation  of 
their  scale  is  based  upon  an  entirely  different 
principle. 

5.  The  Clarinet,  being  cylindrically  bored  in  its 
full  length,  from  the  joint  of  the  mouth-piece  to 
that  of  the  bell,  possesses  the  two  characteristic 
properties  of  stopped-pipes.  First,  it  produces  the 
fundamental  tone  an  octave  lower  than  that  pro- 
duced by  a  conical  instrument  (or  by  an  open-pipe) 
of  the  same  length,  and,  second,  it  gives  only  the 
harmonics  Nos.  1,  3,  5,  etc.— skipping  the  harmon- 
ics of  even  numbers.'  For  example:  the  Soprano 
Clarinet  in  Bb  (see  page  51)  the  length  of  which   is 


'An  open-pipe  4  ft.  4  in.  (1.314  inotrcs)  in  length  gives  a  fundamental  of  128  vibrations  and  all  the  harmonics  in  their  successive 
order: 


-'''  "  ^J 


^f-^-^ 


etc. 


23  456  789        10 


A  stop(«tl-pipc  (or  a  Soprano  Clarinet  in  A\>)  2  ft.  2  in.  (0.657  metres)  in  length  gives  the  same  fundamental  of  128  vibrations 
and  only  the  harmonics  of  uneven  number.  ' 


■^      "      «^« 


13  5  7        9 

Note:— For  the  explanation  of  this  phenomenon  see  V.  C.  Mahillon's  Treatise  on  the  Hiement  d'Acouslique. 


I  37  J 

12477;) 


38 


WIND  INSTRUMENTS 


equal  to  that  of  the  Oboe  (see  page  60),  gives  the 
scale  of  the  1st  partial  tones  an  octave  lower  than 
the  latter  instrument  and  it  produces  only  the  har- 
monics of  uneven  number;  note  the  first  over-blout 
of  the  Clarinet  to  the  3rd  harmonic — skipping  the 
2nd,  viz.:  the  over-blow  to  the  12th  (see  paragraph 
21,  page  44). 

6.  With  the  exception  of  the  Clarinet,  all  the 
other  wind  instruments  are  more  or  less  conical, 
either  throughout  their  entire  length  of  the  tube,  or 
in  part  of  it,  and  for  this  reason  they  are  subject  to 
the  same  acoustical  laws  as  the  open-pipes,  i.  e., 
they  give  the  same  fundamental  tone  as  an  open-pipe 
of  the  same  length,  and  produce  all  the  partial-tones 
of  the  harmonic-series. 

7.  The  conical  wind  instruments  are  divided  into 
two  dififerent  groups — viz.:  keyed-conical  instru- 
ments and  cup-mouthpiece  instruments — differing 
entirely  from  each  other  in  the  production  of  tone 


and,  especially,  in  the  formation  of  the  scale  (see 
chapters  IV  and  \').  Thus  the  entire  mass  of 
wind  instruments  may  be  classified  in  three  distinct 
groups,  which  are  as  follows: 

Group  I : — Keyed-Cylindrical  Tube  Instru- 
ments; working  according  to  the  acoustical  princi- 
ples of  the  Stopped -pipes:  single-reed  mouthpiece: 
— Clarinets. 

Group  II : — Keyed  Conical  Tube  Instruments; 
working  according  to  the  acoustical  principles  of  the 
Open-pipes;  lateral-hole  mouthpiece:  Flutes';  single 
reed  mouthpiece:  Saxophones;  double-reed  mouth- 
piece: Oboes,  Bassoons  and  Sarrusophones.  This 
group  will  be  designated  by  the  term  Conic- wood. - 

Group  III: — Valve-  and  Slide-Conical  Tube 
Instruments;  working  according  to  the  acoustical 
principles  of  the  open-pipes;  cup-mouthpiece: 
Horns,  Saxhorns,  Tubas,  Trumpets  and  Trombones, 
generally  designated  by  the  term  Brass.' 


'The  Flute,  by  its  lateral  hoie  embouchure  is  in  reality  a  pipe  open  on  both  ends.  This  explains  why  the  instrument  retains  the 
properties  of  the  open-pipe  even  when  it  is  built  with  a  cylindrical  "body,"  as  are  most  of  the  modern  Flutes — with  only  the  "head" 
slightly  conical.  However,  to  render  the  classification  simpler,  no  distinction  has  been  made  between  the  Flutes  and  the  reed- 
conical-tube  instruments.  The  fact  that  all  these  keyed  instruments  overblow  to  the  octave  and  give  the  same  fundamental  tone, 
with  the  same  length  of  tube,  will  justify  their  being  classed  in  the  same  group  and  treated  together. 

^The  designations  "wood"  and  "brass"  must  be  considered  only  as  conventional  terms,  for  the  material  of  which  the  wind  in- 
struments are  made  has  iio  effect  whatever  on  the  quality  of  their  tone.  Many  experiments,  in  this  connection,  have  been  made  by 
various  instrument  makers,  all  resulting  in  the  conclusion  that  it  is  only  the  column  of  air  in  the  tube  which  produces  the  sound, 
and  not  the  tube  itself.  We  have,  in  fact,  the  pure  flute-tone  from  whatever  the  instrument  is  made — either  wood,  silver  or  gold; — 
and  the  same  may  be  said  of  the  brass,  nickel,  or  copper  cup-mouthpiece  instruments,  and  also  the  brass  or  wood  Contra-Bassoon, 
Contrabass  Clarinet,  etc. 


CHAPTER  II 


THE  TR.VNSPOSING  WIND  INSTRUMENTS 


Each  family  of  wind  instruments  contains  a 
certain  number  of  instruments  of  the  same  nature, 
but  of  different  intonation. 

8.  In  order  that  the  player  may  pass  from  one 
instrument  to  another  of  the  same  family,  without 
changing  the  fingering,  a  uniform  notation,  called 
"transposing-notation"  or  "uniform  fingering  sys- 
tem," has  been  adopted,  based  on  the  notation  for 
a  "Soprano  in  C" — the  typical  instrument  of  the 
family — the  reading  and  fingering  of  which  is  the 
same  for  the  other  instruments  of  different  sizes. 
For  example:  the  C  in  the  third  space,  treble-clef 


i 


311 


jf  the  Soprano  in  C  is  also,  in  the  reading 


and  fingering,  the  same  note  for  the  other  instruments 
of  the  family,  but  it  sounds  either  higher  or  lower, 
according  to  whether  the  mstrument  which  plays  it 
is  smaller  or  larger  then  the  Soprano  in  C. 

9.  The  exact  tuning  of  the  transposing  instru- 
ments is  generally  indicated  by  the  name  of  the 
instrument  itself — employing  a  designation  borrowed 
from  one  of  the  divisions  of  the  human  voice  which 
approximates  the  range  of  the  instrument,  viz.: 
Soprano,  Alto,  etc.,  together  with  the  tonic-note  in 
which  the  instrument  is  tuned  ("in  B't,"  "in  E'?," 
etc.).  For  example:  the  Soprano  Saxophone  in  B> 
is  approximately  within  the  range  of  the  Soprano 
voice,  tind  is  tuned  in  B-flat,  one  tone  below  the 
Soprano  Saxophone  in  C 

There  are  instances,  however, — e.  g.,  Bass  Flute, 
Bass  Trumi)et,  etc. — in  which  the  term  bass  is  not 
emplo\  fd  after  the  manner  of  its  application  to  the 
Bass  voice,  but  derives  its  significance  from  the 
Italian  word  basso,  meaning  "low." 

In  the  Horns,  Oboes  and  a  few  other  instruments 
the  voice-term  is  not  employed  at  all. 


10.  The  higher  the  instrument  is  tuned  above  the 
t>-pical  Soprano  in  C  of  the  family,  the  lower  will  its 
part  be  written  below  the  actual  sounds — ^and  vice- 
versa.  Examples:  an  E'7-Sopranino  is  tuned  a 
minor-third  higher  than  the  Soprano  in  C,  therefore, 
its  part  will  be  written  a  minor-third  lower;  a  B?- 
Tenor  is  tuned  a  major-ninth  below  the  Soprano  in 
C,  therefore,  its  part  will  be  written  a  major-ninth 
higher. 

U.  The  parts  for  the  low- voiced  brass  instru- 
ments— Saxhorns'  and  Tubas — are  written  in  actual 
sounds,  as  the  players  cannot  keep  changing  to  in- 
struments of  higher  intonation,  due  to  the  consider- 
able difference  in  the  embouchure,  thus  the  uniform 
fingering  system  becomes  absolutely  unnecessary. 

12.  The  Contra-Bassoon  and  Contra-Sarruso- 
I)hone  are  written  an  octave  above  the  actual  sounds, 
like  the  string  Double-Bass. 

13.  In  all,  there  are  four  different  notations  used 
at  the  present  time,  as  follows: — 

I.  Actual-sound  Treble-clef:  for  the  typical 
instrument  of  each  family  (Sopranos  in  C). 

II.  Transposing  Treble-clef:  for  the  instru- 
ments tuned  higher  or  lower  than  the  Soprano 
in  C,  except  the  non-transposing  instruments, 
indicated  Ijclovv  (notation  III).  Occasionally 
the  transposing  treble-clef  is  changed  to  trans- 
posing bass-clef,  as  in  the  case  of  the  Horns 
and  Bass-Clarinets  in  Bb  and  A  and  Contrabas 
Clarinets  in  F  and  E'?.     (See  Introduction.) 

III.  Actual-sound  Bass-clef:  for  the  mid- 
dle- and  low-\oiced  non-transposing  instru- 
ments:—  Bassoon,  Sarrusophone,  Tenor  and 
Bass  Trombone,  Bass  and  Contrabass  Sax- 
horns, B>-,  E>-  and  BB;>-Tubas  and  Contra- 
bass Clarinet  in  C. 


'In  France  and  Belgium,  however,  the  transposing  bass-clef  notation  is  still  used  for  the  low-voiced  Sa.xhorns  (see  Introduction, 
page  19). 

*The  middle-voiced  instruments — Bassoon,  Sarrusophone,  Tenor  Trombon;  and  B>-Tubi — jccasionally  change  to  actual-sound 
tenor-clef. 


[39  1 


40 


WIND  INSTRUiVIENTS 


IV.     Octave  Bass-clef:  for   the  Contra-Bas- 
soon,    Contra-Sarrusophone    and    occasionally 
the  Contrabass  Clarinet  in  C 
14.  Included  in  the  following  illustration  (page  41) 


are  the  transposing  instruments  which  are  mostly 
in  use  at  the  present  time.  The  unison  passages, 
transcribed  for  these  instruments  from  the  piano 
score,  will  show  their  respective  notation. 


EXPLANATORY  NOTE 


The  Trumpets  (in  El?  and  F)  and  the  Horns  (inEl> 
and  F)  correspond  in  their  tuning  to  the  Altos  and 
Baritones  respectively;  but,  owing  to  their  com- 
pass extending  to  the  highest  harmonics  (see  table, 
page  71),  and  to  avoid  many  added-line  notes  above 
the  staff,  the  notation  for  these  instruments  has  been 


placed  an  octave  lower  than  the  regular  transposing 
notation  used  by  all  the  other  valve  instruments; 
their  transposition,  therefore,  corresponds  to  that  of 
the  instruments  vcficed  an  octave  higher,  viz.:  the 
Sopraninos  and  Altos. 


'The  actual-sound  bass-clef  notation  is  much  preferred  by  the  players  of  the  Contrabass-Clarinet  (rather  than  the  octave  nota- 
tion), as  it  obviates  the  difficult  reading  of  the  many  added  leger-lines  in  the  high  rogister  or  the  necessity  of  changing  to  the 
auxiliary  tenor-clef. 


41 


The  Treble-  Clef  Transposing  Instruments  (mostly  in  use) 
Playing  in  the  Key  of  F-major  in  Unison  with  the  Piano 


Db  Piccolo 


C  Piccolo 


.ifSOPRANINOS 
'^\Small  Flute 


P  fSOPRANINOS 
L     Trumpet 


Eb 


SOPRANINOS 

Small  Flute 

Trumpet 


nl>  Flute 


$ 


JPJJg^ 


miuor  9th 


octav.' 


miuor  6th 


perfect  4th 


minor  3rd 


minor  Zad 


PIANO 


(  rf  !■       i                   h.}fll 

[ffm  J^^^i 

fmPhiirf 

\r^^^ — H 

actual  souuds 


r  SOPRANOS  ('  Oi 

Bb MEZZO-SOPRANOS    ^^  ^ 


Cornet 


Trumpet 


ANOS 
let 
pet 


r  SOPRAN( 

Cornet 

|_    Trumpc 

r     ALT 

Eng-lis 

L       /A> 


LTOS 
sA  Horn 
r/i 


El,[ 


ALTOS 
Horn 


Bb 


TENORS 

Ileckelphone 

Buss  Trumpet 


TENORS 

BARITONES 

BASSES 

Bass  Trumpet 


Eb  BARITONES 


W^^^4^ 


sfe 


^     gJT^i^E^ 


g£B 


}|*B3^^^g^^l^ 


?=¥^ 


^=^ 


major  2nd 


minor  3rd 


perfect  5th 


major  6th 


octave 


major  9th 


major  13th 


B.M.Co.6244 


42 


WIND  INSTRUMENTS 


15.  It  is  most  necessary  that  the  instrumentator 
know  how  to  write  and  read  fluently  the  notes  of 
the  transposing  instruments  in  their  actual  sound. 
For  this  indispensable  acquirement  the  following 
method  is  the  most  correct  and  practical  one: — 


The   3rd   space-C   on   the    treble-clef 


establishes  a  point-of-departure  note  for  the  seven 
guide-clefs,  to  be  used  in  reading  and  writing  the 


parts  for  the  transposing  instruments.  This  note 
(C)'  will  be  read  in  the  soprano-clef  as  A  when 
the  transposing  instrument  is  in  A  or  A-flat;  it  will 
be  read  in  the  tenor-clef  as  B  when  the  instrument 
is  in  B  or  B-flat;  it  will  be  read  in  the  bass-clef  as 
E  when  the  instrument  is  in  E  or  E-Hat,  etc. 

16.  The  seven  clefs  which  are  used  in  reading 
or  writing,  in  actual  sounds,  the  parts  of  any  trans- 
posing or  non-transposing  instrument,  are  as 
follows: — 


G-clef 


Treblt 


Clefs  and  point 
of  departure  note 


Intonation 
of  Instruments 


in  C 


C -clefs 


F- clefs 


Soprano   Mezzo-Soprano      Alto 


Tenor 


Baritone 


Bass 


in  A 
OT  AI> 


W 


in  F 


in  D 


1 


m 


also  the  non-trans- 
posing middle  voicec 
instrumeats 


in  <y 


mEoiElf 

also  the  non-trans- 
posing low- voiced 
instruments 


Observe  the  order  of  the  notes  in  descending 
thirds:  When  the  transposing  treble-clef  changes 
to  the  transposing  bass-clef — as  in  the  Bass  Clar- 
inets in  Bb  or  A;  or  the  Horns,  etc. — to  read  in 
actual  sound,  one  should  use  as  guide  the  preceding 
clef  (in  the  above  table);  e.  g.,  for  the  lowest  notes 
of  the  Horn  in  F,  written  in  bass-clef,  use,  as  guide, 
the  soprano-clef  (which  precedes  the  mezzo-soprano). 

17.  The  key-signatures  of  the  transposing  instru- 
ments are  readily  determined  in  the  following 
peculiar  manner: — - 

The  number  of  accidentals  contained  in  the  key 
of  the  instrument's  intonation  is  deducted  from 
the  key-signature  of  the  piece.  For  example,  re- 
ferring to  the  preceding  table,  page  41: — The  in- 
struments in  A  (which  bear  three  sharps  less  or  three 
flats  more)  in  the  key  of  F  have  three  flats  more — 


equivalent  to  the  key  of  A-flat  major.  The  instru- 
ments in  B?  (two  flats  less  or  two  sharps  more)  in 
the  key  of  F,  one  flat  less  plus  one  sharp — equiva- 
lent to  the  key  of  G-major.  The  Df?  Piccolo  (five 
flats  less  or  fi\e  sharps  more)  in  the  key  of  F,  one 
flat  less  plus  four  sharps — equivalent  to  the  key  of 
E-major,  etc. 

18.  Now  it  remains  to  consider  the  changes  in 
the  accidentals  throughout  the  piece,  which  appear 
when,  by  the  use  of  the  guide-clef,  the  notes  are 
called  in  actual-sound;  and  this,  also,  is  very  simple: 
— Those  notes  which  in  the  natural  scale  of  a  trans- 
posing instrument  result  fiat  or  sharp,  when  in  a 
modulation  bear  accidentals,  are  sharped  by  ^  or 
flatted  by  b?  when  that  scale  is  in  sharps;  they  are 
sharped  by  •>!•  or  flatted  by  ^  when  that  scale  is  in 
flats. 


'Tlic  practice  ol  Solfeggio,  in  this  connection,  is  of  great  advantage,  i.e.  to  sing  the  notes  in  their  actual  sound  by  using  the 
syllable  system:  Do,  Re,  Mi,  Fa,  Sol,  La.  Si  (see  page  36):  thus  ths  pDint-of-departuro  note.  Do,  will  be  La  (soprano-clef)  for  the 
instruments  in  A  or  A?;  Si  (tenor-clef)  for  instrum  ents  in  B  or  Bl>,  etc. 


THE  TRANSPOSING  WIND  INSTRUMENTS 


43 


Examples 


For  an  instrument  in  A  which  contains  in  its  intonation-key  F-sharp,  C-sharp  and  G-sharp,  these  three 
notes  (if  altered  throughout  the  piece)  on  the  guide-clef  will  result  as  follows: — 


Instrument  in  A 
Soprano  Guide-clef 


Actual  Soprano-clef 


Point  of  -pi 

J   ^,  departure  note       ^  ~ 


Ml. 


A  gepanure  Dote      -^ 


W^ 


Hrii      l^t>     j{ti  — xt 


\>]nt         l>n        t]»i         ^It 


G- 


l>»i     t]ii    |ii    itti 


l>i?o      t>o       \\f>      j|o 


po       bo       io      wo 


For  an  instrument  in  B?  which  contains  in  its  intonation-key  B-fiat  and  E-fiat.  these  two  notes  will  result 
as  follows: — 


Point  of 
jj  /■,  departure  note 
Instrument  in  B-flat  |5^ 
Tenor  Guide -clef      [<T»- 

Actual  Tenor-clef 


& 


t^ 


^      (ii) 


B 


Wt        l]ti        f 


ti  gn- 


Mmi  Imi  l^tl         ~^ 


,E 

90  \{o  |« 


pyo  po  Ijo  ^< 


For  an  instrument  in  Eb,  w-hich  contains,  in  its  intonation-key  B-flat,  E-flat,  and  A-flat,  these  three  notes 
will  result  as  follows- — 


Point  of 
J    >departare  note 
Instrument  in  E-flat    l/f         (riy         ' 
Bass  Guide-clef 


i 


B 


E- 


Actual  Bass-clef 


^P^ 


PO         ho        to         KO 


t>l>o       t>o       [)o      ^«^ 


t»«l  t|tl         j^t»        «n 


)i[ni        \n%       t)ti       j|»» 


l>"       tl"      h 


Mill      bti      l^ti     :^ 


It  follows,  of  course,  that  the  alterations  of  the 
accidental-notes  occur  throughout  all  the  octaves. 

The  other  notes — those  which  are  natural  in  the 
intonation-key  of  the  instrument — whenever  they  are 
chromatically  altered  in  the  piece,  would  l)e  similarly 
affected  on  the  guide-clef  lay  the  same  accidental. 

It  must  be  understood,  however,  that  this  is 
simply  a  guide  by  which  to  read  and  write  (in  actual 
sounds)  the  parts  of  the  transposing  instruments, 
as  the  se\'en  guide-clefs  used  are  by  no  means  all 
correct  in  their  octaves.  By  applying  these  clefs 
to  the  illustration  on  the  transposing  instruments 


(page  41)  the  student  will  observe  that  the  alto 
guide-clef  of  the  D-flat  Piccolo  sounds  two  octaves 
abm>e  the  actual  alto-clef;  the  mezzo-soprano 
guide-clef  of  the  Truinpet  in  F  sounds  an  octave 
above  the  actual  mezzo-soprano-clef;  the  tenor 
guide-clef  of  the  Bl>-Sopranos  also  sounds  an  octave 
above  the  actual  tenor-clef,  etc. 

Among  all  the  transposing  instruments  referred 
to,  only  the  guide-clefs  of  the  Sopranos  in  A,  Altos 
in  F,  Tenors  in  B'7  and  Baritone  in  Eb,  correspond, 
in  the  correct  octave,  to  the  respective  actual  clefs 
of  soprano,  mezzo-soprano,  tenor  and  bass. 


CHAPTER  III 


THE  CLARINETS 


(Keyed  Cylindrical  Tube  Instruments) 


(a)  Types  of  Instruments  and  Notation 

19.  There  are  five  distinct  groups  of  Clarinets 
made  today' — all  being  cylindrical-tube  and  single- 
reed  instruments: 


(1)  Sopranino  Clarinets 


(2)  Soprano  Clarinets 


(3)  Alto  Clarinets 


(4)  Bass  Clarinets 


(5)  Contrabass  Clarinets 


20.  The  Soprano  in  C,  the  typical  instrument  of 
the  family,  is  written  in  the  treble-clef,  actual 
sound. 

For  the  Sopraninos,  Sopranos  in  Bb  and  A  and 
Altos,  the  transposing  treble-clef  notation  is  used 
exclusively. 

For  the  Basses,  both  the  treble-  and  bass-clef 
transposing  notations  are  used,  with  the  exception  of 
the  bass-clef  for  the  Bass-Clarinet  in  C,  which  cor- 
responds to  the  actual  sounds. 

For  the  Contrabass  Clarinet  in  C  the  notation  in 
actual  sound  Bass-clef  is  preferable  (see  foot-note, 
page  40) ;  the  octave  notation — the  same  as  for 
String  Double-bass — is  also  frequently  used. 

Various  notations  are  employed  for  the  Contra- 
bass Clarinets  in  F,  Eb  and  Bb — these  are  given  in 
the  Introduction   (page    13). 

(b)  Harmonic  Series  and  Scale 

21.  The  first  part  of  the  scale  on  the  Clarinets 
is  produced  by  opening  successively,  from  the  bell- 
joint  upward,  a  number  of  holes,  some  of  which  are 
covered  by  the  fingers  of  the  player  and  others  by 
keys.  This  first  part  comprises  nineteen  semi- 
tones, which  are  all  fundamentals  (1st  partial-tones) 
of  the  harmonic  series  as  follows: — 


Fundamentals 


Commencing  from 


for  which  note 


all  the  holes  are  again  covered,  a  second,  ascending 
succession  of  nineteen  semitones  is  produced  with 
the  same  fingering^  of  all  the  corresponding  funda- 


mentals, but  with  more  air-pressure  on  the  reed; 
thus  giving,  instead  of  the  2nd  harmonics,  the  next 
nearest  partial  tones  of  unequal  number,  viz.,  3rd 
harmonics,  which  are  a  12th  above  the  funda- 
mentals:— 


'See  figures  on  page  51. 

'The  typical  instrument. 

'.■Mso  called  Bassett-Horn  (see  page  12). 

On  the  Clarinets,  and  some  others  reed-instruments  also,  the  emission  of  harmonics  is  facilitated  by  the  opening  of  a  small  hole 
near  the  reed-joint,  with  the  so-called  "speaker-key"  or  "vent-key".  Some  instruments,  as  the  Oboe,  the  Saxophones,  etc.,  have  a 
second  speaker-key  for  the  highest  harmonics. 

[44] 


THE  CLARINETS 


45 


3rd  harmonics 


j         j        J       J       U       hi       J       ti       i       ri       J        ^ 


Fundamentals 


1=        ^^       ^       ^       ^        f* 


With  further  augmentation  of  the  air-pressure  the  next  harmonics  of  uneven  number  are  obtained,  viz., 
the  5th  and  the  9th  (the  7th  harmonics,  being  impracticable  in  the  equal-temperament  scale, — -see  page  37 — 
are  not  used) : — 


~5th  harmonics  . 

Fuiidaoientals  . 


9th  harmonics 


d  i  4  i  4  i  i 


Fundamentals 


22.     From 


upward,  however,  this  "natural"  fingering  is  not  observed  in  most  of  the 


notes;    instead,  "a.iiticial"  fingering  is  used  to  facilitate  the  emission  of  the  sound,  or  tJ  impx-uve  the  tone- 
quality  and  intonation  (see  foot-note  No.  3,  page  52). 

(c)     Technique 

23.     The  scale  of  the  Clarinets  is  divided  into  five  registers: — 


low  register 
'CAalumeau" 

0 

intermediate 

. J 

middle  reg-ister 
"Clarinetto" 

.•••'^ 

high  register 
\^^ 1 

extreme 

a          it. 

CF.-- 


Each  register  possesses  characteristics  of  its  own : — 

24.  The  low  register  Chalumcan  is  very  sonorous, 
mellow  and  a  little  na.sal ;  excellent  for  special  effects, 
such  as  tremolo,  sustained  notes,  slurred  arpeggi 
etc.,  and  it  is  the  easiest  register  to  execute. 

25.  The  intermediate  register  is  the  weakest 
part  of  the  instrument.  It  is  suitable  for  soft 
rhythmical  accompaniments  or  "dying  away"  di- 
ininuendi.  In  out-of-door  music,  this  register  is 
particularly  suited  to  reinforce  the  low  register  of 
the  I'lute — and  in  oilier  like  instances.  Quick  pas- 
sages on  the  last  three  ^  ■  ==: 
notes    of    this     register,         (tS  U"      4^ 


^ 


should  be  a\'C)i(Ied  as  mucli  as  possible,    especially 
in   solo   passages  or  cadenzas. 

26.  The  middle  register,  Clarinetto,  is  by  far 
the  best  part  of  the  scale — clear,  sweet,  but  pene- 
trating and  xery  expressive.  Upon  it  the  instru- 
mcntator  can  depend  in  e\ery  instance,  throughout 
all  the  various  modes  of  expression  employed  in  com- 
position: from  the  placifi,  whispering  {sotto  voce)  to 
the  most  elaborate,  animated  passage,  either  legato 
or  staccato.  The  superb  qualities  of  this  register 
are  sufficient  to  gi\e  the  clarinets  the  first  place 
among  the  wind  instruments. 


46 


WIND  INSTRUMENTS 


27.  The  high  register  is  distinctly  more  reedy' 
than  the  middle-register — the  clarinello — but  it  is 
very  good  and  effective  in  its  character,  and  it  is 
possible  on  all  the  Clarinets  except  the  Contrabass, 
which  can  only  reach  the  first  four  semitones: 

"■O-       1^         —      " —  actual  sounds  for  the  Con- 

*J'  tral)ass    Clarinet    in    C. 


IS.  The  extreme  register  possible  only  on  the 
Soprano  and  partly  on  the  Sopranino  Clarinets  is 
more  or  less  shrieking,  according  to  the  proficiency 
of  the  performer.  This  register  is  only  employed 
in  Clarinet  Concertos,  or  other  Clarinet  Solos,  but 
not  in  orchestra  or  band  parts,  save  the  occasional 
use  of  the  first  two  or  three  semitones  in  a  tiilti- 
fortissimo  of  the  band,  when  it  occurs,  to  avoid  the 
breaking  of  a  high  melody,  or  passage,  in  the  first 
Soprano  Clarinets. 

The  entire  compass  and  notation  of  the  different 
Clarinets  is  given  in  the  Introduction,  pages  12 
and  13,  and  further,  34  and  35. 

29.  The  Sopranino  and  Soprano  Clarinets  are 
as  agile  in  execution  as  the  Flute,  almost  approaching 
the  Violin  in  velocity,  both  in  legato  and  staccato 
passages,  and  in  scales,  arpeggi,  fingered-tremolo, 
trills,  etc. 

These  possibilities  in  the  technique  of  the  Clarinet 
are  especially  displayed   in  band  music  where   the 


Soprano  Clarinets,  together  with  the  Sopranino  excel 
in  the  principal  part,  as  do  the  Violins  in  the  or- 
chestra.- 

30.  The  other  Clarinets — Alto,  Bass  and  Contra- 
bass— although  the  fingering  is  the  same,  the  greater 
their  size,  the  less  adaptable  are  they  to  agile 
articulation,  as  the  low  tones  are  produced  with  a 
lesser  number  of  vibrations  to  a  second  than  the 
high  tones;  that  is  to  say,  the  tones  of  the  low-voiced 
instruments  vibrate  slower,  and,  therefore,  are 
heavier  and  thicker  than  the  more  rapidly  vibrating 
tones  of  the  higher-voiced  instruments,  thereby 
losing  in  tonal-flexibility. — This  also  applies  to 
every  family  of  musical  instruments. 

There  are  limitations  and  difficulties  in  the  rapid 
execution  of  some  intervals  of  the  Clarinets. 

31.  In  general,  it  is  to  be  remembered  that 
passages  formed  of  octave-skips  are  difficult  on  the 
cylindrical  instruments — the  Clarinets — as  their 
fingering  changes  in  each  octave;  whereas  such 
passages  become  easier  on  all  the  conical  instruments 
— Conic-wood  and  Brass,  for  they  naturally  over- 
blow to  the  octave,  retaining  the  same  fingering 
throughout.  For  instance:  the  following  passage, 
which  is  easy  in  execution  for  a  Flute,  a  Saxophone 
and  even  for  a  Saxhorn,  is  quite  difficult  for  the 
Clarinets — almost  impossible  in  an  allegro  move- 
ment:— 


# 


^ 


^ 


A 


-^^ 


^ 


i^ 


J  JJ-VJ''^  J^'^ 


^ 


This  difference  in  the  matter  of  easy  and  difficult 
execution  between  cylindrical  and  conical  instru- 
ments appears  in  the  octave  skips  only;  throughout 
the  other  intervals  all  the  keyed  instruments  (cylin- 
drical or  conical)  are  subject  to  about  the  same 
degree  of  difficulties  according  to  the  width  of  the 
interval,  its  fingering  and  rapidity  of  execution. 

32.  It  is  of  prime  importance  in  scoring  to  make 
sure  that  the  trills  and  tremolos  used  are  all  prac- 
ticable.    In  transcriptions  from  orchestra  to   band, 


especially  where  the  Clarinets  are  given  (in  fingered- 
tremolo)  both  the  fingered  and  bowed  tremolo  of 
tiie  strings,  instances  frequently  appear,  which, 
by  the  bad  effect  they  produce,  give  evidence  of  the 
instrumentator's  lack  of  technical  knowledge  in 
this  particular. 

One  has  no  plausible  reason  to  give  in  excuse  of 
such  errors  when,  as  in  the  case  of  band-scoring, 
he  has  at  his  disposal  entire  families  of  instruments 
to  which  he  can  distribute  in  many  ways  the  tremolo- 


'Generally  speaking  this  reedy  quality  of  the  high  register  occurs  with  the  average  Clarinet  players,  but  today  there  are  many 
skilled  clarinettisls  who  can  play  quite  evenly  both  the  middle  and  high  registers  with  a  beautiful  Clarinello  quality. 

-"The  B?  Clarinets  are  to  the  I\Iilitary-Band  what  the  Violins  are  to  the  Orchestra.  Indeed  they  are  a  good  deal  more,  for  where- 
as in  the  upper  register  of  the  orchestra  the  wood-wind  instruments  can  take  their  proper  share  of  extended  figures  and  melodic 
passages,  in  the  Military  Band"  (here  meaning  a  band  without  Oboes  and  Saxophones),  "the  Clarinets  alone  can  be  used  to  give 
adequate  emphasis  to  the  transliterations  of  these  parts."     ("Orchestration"  by  Cecil  Forsyth.     Mac.Millan  &  Co.,  London.) 


THE  CLARINETS 


47 


div.    ^^1  ^'^-  * 

chord.     For  instance,  an  A-major  chord  of  the  first  V'iohns  divisi:    ly^L-jlfj — ^f^-r^i    °^     ^   ^    (■> 


be  given  to  the  Clarinet  family  in  four  ditiferent  ways,  with  the  following  results: — 


may 


very  difficult 


pood 


EbSopraninos 


BbSopranos  I 


M 


out  of  tune 


veri/  bad 


Bt>Sopranos  I 


Bb Sopranos  II 


bad 


difficult 


B1)  Sopranos  I 


B? Sopranos  II 


g-ood 


fairly  good 


B[)  Sopranos 
(I  or  II) 


e!)  Altos 


good  vtrygoud 


In  the  tables  on  page  49  can  l)e  found  at  a  glance 
the  various  trills  or  tremolos  possible  for  tiic  Clar- 
inets— the  Sopranino,  Soprano,  Alto  and  I5ass 
(Boehm-system),  and  the  Contrabass  (thirteen  key, 
Biiffel-syslem) — with  special  indications  as  to  the 
degree  of  their  difificuiiy. 


3>c>.  These  tables,  and  also  those  given  in  the 
following  chapter  on  the  trills  and  tremolos  of 
the  Conic-wood  (pages  56  and  57)  are  the  result 
f)f  careful  experiments  made,  with  the  co-operation 
of  competent  performers  on  instruments  of  the 
most  modern  systems. 


48 


WIND  INSTRUMENTS 


EXPLANATORY  NOTE 

In  the  following  tables,  the  possible  trills  and  tremolos  are  placed  vertically,  in  squares,  over  each  note  of  the  entire  chromatic 
scale  of  the  instrument,  beginning  with  the  minor  second  and  ascending— the  intervals  indicated  in  parallel  position  at  the  left  of 
the  tables. 

Thcemptysquaresrepresent  the  easy  trills  and  tremolos;  the  numbered  squares  represent  the  difficult  or  defective,  and  the 
crossed  squares  represent  the  impracticable  ones— according  to  the  annotations  accompanying  the  tables;  for  example:  the' trills  and 


tremolos  on 


'"$ 


of  a  Boehm-System  Clarinet,  result  as  follows: — 


very  not        . 

difficult    difficult   impossible   in  tune    '        impossible 


gv-gi  W^^A 


As  a  general  rule,  the  smalLr  intervals  are  always  the  best. 

Certain  intervals,  like  the  minor  and  major  seventh  and  the  octave,  though  of  possible  execution,   are    excluded  from  the 

tables  because  in  any  case  of  tremolo-effects  it  will  be  found  unnecessary  to  make  use  of  larger  intervals  than   the  4th  or  5th. 

Remark:— Whi:n  the  Bass-clef  notation  is  used  for  the  Bass-Clarinet,  the  instrumentator  will  allow  for  the   difference  of  an 


octave   between   this    clef    and    the    written    treble-clef    in    the   table,    thus,   e.g.,    the   first   note   of    the    seal 


.  i 


will  correspond  to 


a 


# 


(See  Introduction,  page  13.) 


The  actual  sound  bass-clef  notation  is  uscd-for  the  Contrabass  Clarinet  in  C. 


THE  CLARINETS 


49 


Tables  of  Trills  and  Tremolos  for  the  Clarinets 


Explanatory.n  5-oorf.  [T]  difficult;  [2]  very  difficult-^\to  be  avoided  inpp;  [4j  defective  intonation;^^  impracticable. 

Clarinets:  Sopranino, Soprano, Alto  and  Bass  (Boehm System) 


maj.  6th 
min.6th(augm.5th) 
perf.  5th 
dim5th(augm.4th) 
perf.  4th 
maj.    3rd 
min.  3rd 

2 

i 

3 

3 

2 

2 

2 

1 

2 

2 

2 

(These  two  tables  compiled  withthe  kind  sssls- 

2 

1 — 

3 

2 

2 

2 

4 

2 

1 

3 

2 

3 

2 

2 

1 

tciice  uf  Mr.  M.  Arey.of  the  Detroit  SjxBfh' 

0 

2 

0 

X 

4 

2 

1 

2 

3 

3 

1 

3 

1    1 

3 

3 

2 

2 

X 

4 

1 

1 

3 

a 

3 

1 

3 

3 

2 

1 

1 

3 

1 

3 

2 

3 

1| 

3 

2 

1 

1 

1 

2 

2 

2 

4 

3 

3 

1 

1 

1 

2 

2 

1 

3 

1 

3 

3 

jTim.   2nd 

2 

1 

4 

1 

1 

4 

3 

1 

1 

^ 

i    1    !    i    i   1    1 

i — T-t — ^^ — r 

1 — rr-t 

=¥ 

^ 

=4Mf= 

%? 

=^ 

^ 

r¥ 

f" 

¥ 

A 

tf^t^ 

m 

<L 

* 

m. 

*y 

P 

i  *  p  *  )i* 

hh^^y 

^5555:p5E 

? 

J ')H-' 7:^:1    i'l^iitdi 

-H- 

Alt 

0  and  Bass 

—4 — 1 — 1 — , 

1 — . — . — , — . — . — ,__, 

Sopra 

lino  and  Soprano 

Contrabass  Clarinet  in  Cthirteenkfvs:  Buffet-svstem) 


=, 

"perf.  4th 

maj.   3rd 

jnin.   3rd 

maj .   2nd 

Lniin.   2nd 

3 

1 

2 

2 

0 

a 

X 

3 

1 

2 

2 

3 

1 

f^ 

X 

3 

1 

2 

3 

_£ 

2 

2 

3 

H 

;::::•*;:      I      I      '      *      •!      I      *      I      *      I      i      t      :      *      i      *      :      i      i      :      i 

-^'MM'  1'  1'  1^  1:  1'  1'  I:  1'  lii  ILIiJ 

3 

g 

ia 

T=tf1^ 

3^^E^ 

WW' 

:yf4=? 

(1)  Avoid  tremolos  ou  intervals  larger  than  per  feet  5th  for  the  Alto  and  Bass  Clarinets. 


B.U.Co  ea44 


50 


WIND  INSTRUMENTS 


(d)  Quality  of  Tone 

34.  The  tone  of  the  Clarinets  is  the  most  beautiful 
of  all  the  wind-instruments;  rich,  expressive  and 
penetrating;  suited  to  portray  great  diversity  of 
emotional  moods; — joy,  love,  tenderness,  plaintive- 
ness,  grief,  despair,  dismay,  etc. — according  to  the 
different  registers  of  each  of  the  five  instruments  of 
the  family,  used  in  all  the  various  dynamic  degrees 
from  pianissimo  to  fortissimo. 

35.  Another  quality  in  which  the  Clarinets  excel 
over  all  the  other  instruments  is  their  great  tonal 
flexibility.  Thus  the  Clarinets  can  be  adapted  to 
any  desired  effect,  expressing  with  the  same  facility 
the  whispering  of  the  lightest  breeze  and  the  fury 


of  the  hurricane.  "No  other  instrument  has  so 
complete  a  command  of  -==:  ^=-  as  the  Clari- 
net. This  applies  to  the  whole  of  its  compass,  and 
to  all  the  instruments  of  the  Clarinet  family.  In 
especial,  the  Clarinet  ppp  is  the  nearest  attainable 
approach  to  'nothing  at  all'  in  the  wind  depart- 
ment."^ 

36.  Such  qualities  in  the  tone  of  the  Clarinets 
have  placed  these  instruments  in  the  most  prominent 
part  of  the  band  ensemble,  viz.:  the  section  which 
corresponds  to  that  represented  by  the  strings  in 
the  orchestra. 

This  important  role  of  the  Clarinet  family  is 
more  e.xtensively  dealt  with  in  Parts  II  and  III. 


•"Orchestration"  by  Cecil  Forsyth. 


THE  CONIC-WOOD 


53 


EXPLANATORY  NOTE 


The  fundamentals  are  written  in  whole  notes  and 
the  harmonics  in  half-notes,  under  which  the  proper 
generator  (or  fundamental)  is  indicated. 

The  low  quarter-notes  are  obtained  with  the  length- 
ening of  the  tube  by  closing,  with  special  keys,  certain 
large  holes  near  the  bell,  and  the  high  quarter-notes 
in  the  Saxophones  and  Bassoons  are  produced  by  open- 
ing small  holes  near  the  mouthpiece-joint. 

The  scale  may  be  divided  simply  into  low,  middle, 
and  high  register. 

The  low  register  separated  by  bracket,  thus:  1 
«s  sonorous,  but  of  little  carrying  power. 


The  middle  register  between  the  brackets,  thus:  ][ 
forms  the  most  sonorous  part  of  the  scale,  respond- 
ing easily  to  every  dynamic  degree  from  pianissimo 
to  fortissimo. 

The  high  register,  separated  by  a  bracket,  thus:  [ 
is  generally  thin  in  tonal  quality. 

Several  of  the  extreme  low  and  high  notes  in  these 
scales  are  possible,  but  very  difficult  in  some  instru- 
ments of  the  family  and  impossible  in  others.  For 
the  sake  of  clearness,  indications  of  such  notes  are 
omitted  in  this  table,  referring  the  student  to  the 
table  of  "The  Band  Instruments,"  on  pages  34  and  35. 


64 


O 

P 

^ 

O 

•a 

o 

Q 

C/) 

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C/) 

G 

QJ 

O) 

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o 

;3 

(/) 

U. 

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'^ 

C/3 

c 

c 

cd 

H-H 

t/) 

(D 

<i> 

^ 

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;3 

<D 

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CO 

.— H 

Cd 

o 

o 

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c 

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o 

o 

s 

O 

u, 

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a 

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X 

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4:: 

;— C(l 


-(Ml 


l£0-*ll| 


)  u. 


-*l 


--* 


L- 


'-nfcll 


-Til 


.— ^^ 


i 


■5  — ♦! 


~'i    >  t^ 


—* 


— *l 


u 
»; 
o 
BS 
a. 
o 

X 

< 

(A 


CQ55W 


i,  a 


>  4 


,5 

§5 

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be 


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a 


9I0q-J8i3JBT 


paaj-3iJJn!S 


pooj-oiqnoa 


o 
O 


THE  CONIC-WOOD 


55 


(c)  Technique 

41.  The  keyed-conical  tute  instruments  vary  in 
agility  of  tone-production  according  to  tiieir  moutii- 
piece. 

The  lateral-hole  instruments  (Flutes  and  Piccolos), 
being  the  quickest  and  easiest  for  attacking  and 
producing  the  sounds,  are  the  most  agile  in  this 
section.  They  are  unsurpassed  in  trills,  rapid 
passages  formed  on  scales  or  skips — slurred  or 
staccato,  in  single-  double-  or  triple-tonguing. 

The  single-reed  instruments  (Saxophones)  come 
ne.xt  in  facility  of  technique,  and  last,  the  double- 
reed  instruments  (Oboes,  Bassoons  and  Sarruso- 
phones)  which,  although  they  allow  of  great  possi- 
bilities in  the  hands  of  some  virtuosi,  are,  neverthe- 
less, the  most  difficult  among  the  keyed  instruments, 
and  the  prudent  instrumentator  will  never  risk  em- 
plo\'ing  them  be\'ond  the  limit  of  medium  velocity. 

Generally  speaking,  with  regard  to  each  group  of 
different  mouthpieces — as  already  said  of  the  Clari- 
net family  (paragraph  30), — the  smaller  instruments 
are,  by  nature,  the  most  agile  in  tone-production 


42.  In  the  score  examples  of  Part  II  and  III,  the 
student  will  find  practical  illustrations  of  these  hints 
regarding  the  "Conic-wood."  But  the  diligent  study 
of  classical  orchestral  works  is  also  indispensable  for 
acquiring  sufficient  knowledge  of  the  possibilities  of 
these  instruments. 

It  is  essential,  that  the  student  always  bear  in 
mind  certain  limitations,  beyond  which  the  tech- 
nique of  each  instrument  fails  to  function;  these 
are  especially  the  emission  of  high  and  extreme 
notes — ^already  indicated  in  the  Introduction  (pages 
34  and  35) — and  the  execution  of  certain  fingered 
tremolos  and  trills. 

43.  In  the  following  tables  (pages  56  and  57)  the 
student  will  find  a  complete  account,  easy  to  refer 
to,  whenever  he  employs  the  conic-wood  instruments 
in  trills  or  tremolos.'  These  tables  are  compiled  in 
the  same  manner  as  those  given  for  the  trills  and 
tremolos  of  the  Clarinets;  the  student,  therefore,  is 
referred  to  page  46,  paragraphs  32  and  33,  and  sub- 
secjuent  explanatory  note  (page  48),  where  the 
correct  use  of  the  tables  is  duly  explained. 


'The  following  tremolos,  which  are  difficult  or  impracticable  on  the  ordinary  Boehm-FIute  (as  given  in  the  Flute  table)  can  how- 
ever, be  easily  played  on  the  Boehm-FIute  with  the  special  C-sharp  trill-key,  made  by  Wm.  S.  Hayncs  Co.,  Boston,  Mass. 


4=^=^  'V'  i'  ■   'y  i' 


B« 


WIND  INSTRUiMENTS 


Tables  of  Trills  and  Tremolos 
for  the  most  used  Keyed  Conical  Tube  Instruments 


ixpUDitOTy:\\g-ood;\l\dif/icult;  Z    oery  difficult  ;\3\  to  be  avoided  inpp;  [4~|  defective  intonation;  [)()  impracUeablt. 

Flutes  and  Piccolos  (Boehm  System) 


maj.  6th 

1 

1 

3 

3 

(Compiled  with  the  kind  assistance  of  Mr.C.K. North, 

min.6th(augin.6th) 

3 

1 

3 

of  the  Detroit  Symphony  Orchestra) 

perf.  Bth 

a 

1 

2 

2 

dim.t>th(augm.4th) 

a 

2 

2 

1 

2 

perf.  4th 

2 

X 

2 

maj.  Srd 

4 

1 

4 

2 

4 

S 

min.  3rd 

X 

4 

4 

4 

2 

3 

4 

3 

3 

TrillsP'^J"  ^"^ 

X 

4 

» 

3 

min.  2nd 

X 

S    S 

^ 

i :— ; ! !- — 

1 — 

1 — 

-n — 

' it       !l — ' 

u 

^ 

te 

\  ■  i  ■  \-= 

-« 

Ite 

a 

, — -.--i — 1 — , 

— , 

:       "    :  Piccolo 


:  Flute 


Oboe  and  English  Horn  (Pans  Conservatory  System) 


maj.  6th 
min.6th(aDgm.5th) 
perf.  Bth 
dim.5th(augm.4th) 
perf.  4th 
maj.  Srd 
min.  Srd 

X 

(Compiled  with  the  kind  assistance 

2 

Lenoo^of  the  Boston  Symphony  Or 

3 

1 

1 

1 

X 

2 

X 

3 

1 

1 

1 

1 

4 

rmai    2nd 

Trills      .      „  ^ 

min.   2nd 

2 

4 

X 

X 

4 

4 

1 

h 

N  M  M  i  M  M  M  MJ  Ui.joUJ^iH^W^^NN 

i 1 ! 1 1 1 1 1 1 tt II      ;I Ih-I   lllttll!    OI^'lH"!         IB      ; 1 ! 1 : ! 1 ! : 1 1 

c 

^ 

English  Horn                                                                                                                                        ! 

-Ob 

pe                                                                              _     _               1 

B.M  Co.«*44 


THE  CONIC-WOOD 


67 


Tables  of  Trills  and  Tremolos 
for  the  most  used  Keyed  Conical  Tube  Instruments  (Continued) 


Explanatory:  M  ^oorf,-rij  difficult;  Vz\  very  difficult  A^  to  be  avoided  inpp;  [4]  defective  ititonation;  ^Q  impracticable. 
SaXOphoneSC'New  improved  System"-  sixteen  keys) 


perf.  6th 

3 

3 

3 

(CoDipiledwiththekiDdas 

dim.5th(augm.4th) 

3 

3 

1 

Mr.E.C.Gately.of  Sonsa's 

perf.  4th 

X 

2 

3 

3 

3 

2 

3 

3 

2 

maj.  3rd 

3 

X 

1 

3 

3 

3 

1 

X 

min.  3rd 

X 

3 

X 

3 

3 

Trills P'^j-  2'"» 
min.  2nd 

X 

X 

1 

3 

1 

X 

1 

X 

^ 

M  1  M  1  1,1 ,1,1 ,1 ,1  1  1  \Jx^J.f^i^rhk^rMrMf^ 

W 

w 

lii 

^ 

1^ 

=^ 

u 

^ 

ofc 

*i 

-«L 

■^ 

r 

^ 

4= 

^ 

^ 

-h 

-1- 

-1- 

-4— 

—1. 

Bassoon  and  Contra-Bassoon 
Sarrusophonecn  oand  Contra-Sarrusophone 


>  French  System 


Tremolos 


Trills 


(Compiled  with  the  kind  abbistance  of 
Mr. Domenico  DeIledonne,ofth«St.Louis 
Symphony  Orchestra) 


I   Cootra-BasBooD  and  Contra- Sarrusophooe 
jBassoon  and  SamsopfaoneOn  C) 


B.U.Co.(*4« 


58 


WIND  INSTRUMENTS 


(d)  Quality  of  Tone 

44.  It  is  difficult  to  give  an  adequate  description 
of  the  timbre  of  the  various  instruments. — There  is 
only  one  practical  way  of  teaching  a  child  to  dis- 
tinguish the  colors  red,  blue  and  yellow,  and  that  is 
by  a  demonstration  and  identification  for  him  of 
these  particular  hues.  And  so  it  is  with  the  tonal 
quality  of  each  of  the  various  instruments.  A 
knowledge  of  them  cannot  be  obtained  by  verbal 
description.  One  must  actually  hear  the  sound 
produced  by  the  Oboe,  Clarinet  or  Trumpet  to 
become  familiar  with  the  individual  tonal-character- 
istics of  these  instruments.^ 

The  following  points  on  the  conic-wood  instru- 
ments, however,  will  help  to  impress  upon  the 
student's  mind  the  quality  of  tone  that  he  hears 
whenever  the  occasion  is  offered  to  him.- 

PlCCOLO: — Brilliant  and  hard  in  tonal-qualit>-, 
suited  for  the  depiction  of  joyous,  festival 
scenes;  storm-effects;  embellishments  in  march- 
ing music  and  in  octave-melodies  in  tiitti- 
fortissimo. 

Flute : — The  sweetest-toned  of  all  the  instru- 
ments: appropriate  for  the  expression  of  happy 
moods;  soft  whisperings  of  Nature  sounds; 
plaintive  loneliness  and  sadness. 

SAXOPHONES: — Mellow  and  penetrating  tone  of 
veiled  quality,  partaking  somewhat  of  the 
Clarinet  and  English-horn,  but  much  more 
sonorous. 

ObOE: — Thin  and  somewhat  nasal  tone;  lyrical 
and  charming  when  piano,  piercing  when/or/e; 
especially  suited  for  portraying  pensive,  pas- 
toral scenes,  or  lonely,  melancholy  moods. 

English-Horn  : — Smooth  and  rich  quality  of 
tone,  reminding  one  a  little  of  the  Alto  voice. 
For    reminiscent    moods,    tragic    or    pathetic 


scenes,  it  is  unsurpassed  by  any  other  instru- 
ment. 

BASSOON: — Versatile  in  tonal-quality  according 
to  the  requirements  of  the  mood  for  depiction. 
Sustained  legato  passages  in  the  low  register  are 
either  dignified,  mysterious,  solemn  or  pontif- 
ical in  character;  in  the  medium  register,  sweet, 
gentle  and  persuasive,  somewhat  resembling  a 
distant  Baritone- voice;  in  the  high  register,  thin 
and  plaintive.  Staccato  passages,  when  piano 
and  mezzo-forte  are  droll  and  sportive  in  their 
effects,  and  grotesque  when  forte.  The  Bassoons 
have  less  carrying  power  than  any  other  wind 
instrument. 

Contra- BASSOON: — The  lowest  octave  has  a 
tonal  character  peculiarly  its  own:  it  continues 
homogeneously  the  downward  compass  of  the 
Bassoon,  but  the  vibrations  of  its  large  double- 
reed  become  slower  and  increasingly  more 
noticeable  when  descending  the  scale  towards 
the  lowest  fifth — the  tones  partaking  of  a 
"drummy"  effect  and  the  intonation-pitch  be- 
coming very  indistinct.  The  middle  and  high 
registers  resemble,  more  or  less,  the  respective 
low  and  medium  registers  of  the  Bassoon,  but 
lacking  in  delicacy.  Very  weak  in  carrying 
power,  like   the  Bassoon. 

SarruSOPHONE: — Same  tone-color  as  that  of 
the  Bassoons,  though  a  little  thicker  in  quality, 
but  much  more  sonorous  and  of  splendid 
carrying  power,  thus  rendering  these  instru- 
ments excellent  substitutes  for  the  Bassoons 
in  outdoor  music. 

Contra-S.\RRUSOPHONE: — Same  timbre  as  that 
of  the  Contra-Bassoon,  but  much  richer  and  of 
great  carrying  power  even  when  used  out-of- 
doors. 


'See  pasie  9,  last  paragraph. 

'In  addition,  the  student  is  recommended  to  read  standard  works  upon  instrumentation  or  orchestration,  as  Berlioz,  Gevaert, 
Forsyth,  Widor,  liofmann,  Prout,  etc. 


CHAPTER  V 
THE  BIL\SS 

(Cup  Mouthpiece  Instruments) 


(a)  Types  of  Instruments  and  Notation 

45.  At  the  present  time,  the  brass  instruments  are 
found  in  a  great  variety  of  models  and  shapes  and 
(excepting  those  which  have  a  permanent  place  in 
the  orchestra,  viz.:  the  Horns,  Trumpets  and  Trom- 
bones) the>'  are  known  by  the  most  diversified 
nomenclature,  and  treated  in  infinitely  varied  com- 
binations in  the  band  scores  of  today.  In  order  that 
we  may  co-ordinate  our  ideas,  and  comprehend  more 
clearly  the  situation,  it  is  necessary  that  we  first 
briefly  consider  the  origin  and  evolution  of  certain 
instruments  which  are  more  affected  by  the  present- 
day  chaotic  condition  in  terminology  and  usage. 
These  particular  instruments  are  the  SAXHORNS 
and  TUBAS. 

46.  The  original  family  of  the  Saxhorns,  invented 
by  Adolph  Sax,  in  1842,  contained  the  following 
seven  different  t\pes: — 

(a)  Sopranino  in  E? 

(b)  Soprano  in  Bt> 

(c)  Alto  in  E':> 

(d)  Tenor  or  Baritone  in  B> 

(e)  Bass  in  Bb 

(/)     Low-Bass  in  E'? 
(g)     Contrabass  in  B> 

47.  At  the  present  time,  instruments  of  tlie  nature 
of  the  Saxhorns  are  found  in  eight  different  types,' 
namely : — 

1.  The  Sopranino  Saxhorn  in  Eb  or  its  fac- 
simile, the  E>-("ornet,  or  Piston  iir  Ei?;  same 
as  the  original  Sopranino  (a). 

2.  The  Soprano  Saxhorn  in  B>  or  its  fac- 
simile, the  B>-('ornet  with  conical-tube  and 
Saxhorn-moutii|)iece;  tut)ing  comparatively 
small — of    practically    the    same    diameter  as 


that  of  the  Sopranino  but  of  the  length  of  the 
original  Soprano  (b). 

3.  The  Mezzo-Soprano  Saxhorns  in  B?  or  its 
fac-simile,  the  Flugelhorn  or  Bugle;  tubing  of 
the  same  length  as  that  of  the  original  Soprano 
(b),  but  slightly  larger. 

4.  The  Alto  Saxhorn  in  E?  practically  the 
same  as  the  original  (c). 

5.  The  Tenor  Saxhorn  in  Bb  practically  the 
same  as  the  original  (d). 

6.  The  Baritone  Saxhorn  in  Bb  practically 
the  same  as  the  original  (e). 

7.  The  Bass  Saxhorn  in  E?  practically  the 
same  as  the  original  (/). 

8.  The  Contrabass  Saxhorn  in  Bb  practically 
the  same  as  the  original  (g). 

The  foregoing  nomenclature  is  the  most  appro- 
priate to  the  modern  instruments,  and  will  greatly 
aid  in  the  correct  employment  of  this  family  of  brass 
instruments. 

48.  The  Saxhorns  are,  or  are  supposed  to  be,  in- 
struments with  a  bell-cup  mouthpiece  (figure  B, 
page  65)  and  short  conical-tube,  all  ha\ing  three 
valves — the  additional  fourth  vaKe  being  quite  im- 
practicable on  instruments  of  marked  conical-tube. 

49.  The  first  four  Saxhorns — Sopranino,  Soprano, 
Mezzo-Soprano  and  Alto- — -are  of  horizontal  or 
Bugle  shape,  and  the  last  four — Tenor,  Baritone, 
Bass  and  Contrabass — of  vertical  or  Ophicleide 
shape,  preferably  with  the  bell  bent  towards  the 
front  (see  page  77).  This  feature  (the  front  bell) 
in  the  vertical  Saxhorns  has  proved  to  be  very 
efficient  in  preventing  the  retardation  or  the  dragging 
response  so  accentuated  in  the  mellow-tone  of  these 
large  instruments. 

The  last  two  Saxhorns  are  also  made  in  circular 
form,     thus     to    render    them    more    portable    for 


'See  figures  on  pages  76  and  77. 

'.Alto   Saxhorns   of   vertical   shape,    known  as   "Kl>-Altos,"   are  also  used  in  some  bands;    often  they  take  the  parts  of  the 
El>-Horns,  in  absence  of  these  instruments  (.see  page  32). 


(61] 


62 


WIND  INSTRUMENTS 


marching;    in    this    model,    also,    the  bell   is  bent 
toward  the  front  (see  page  78). 

50.  The  Sopranino  Saxhorn  is  not  generally  used, 
except  in  Fanfare'  (Brass  Band) — because  of  the 
difficulty  of  its  intonation,  very  few  cornetists  are 
willing  to  play  this  instrument.  The  modern  So- 
prano Saxhorn  (the  Bb-Cornet),  however, — the  high 
notes  of  which  being  much  easier  to  obtain  than  the 
Sopranino's — reaches  with  almost  the  same  facility 
the  compass  of  the  latter  instrument,  thus  bringing 
to  nought  the  only  raison  d'etre  of  the  Sopranino. 
Apart  from  the  high  notes  in  its  compass,  the  So- 
pranino possesses  no  superiority  over  the  Soprano, 
wither  in  its  tonal  quality  or  possibilities  of  tech- 
nique. Moreover,  the  low  register  of  the  Soprano 
(five  additional  semitones)  is  lacking  entirely  in  the 
compass  of  the  Sopranino.  The  gradual  disuse  of 
the  little  Saxhorn  is  therefore  not  surprising. 

51.  Aside  from  the  Sopranino,  all  the  other  Sax- 
horns, from  the  Soprano  downward — either  as 
complete  or  incomplete  family — are  used  in  ev'ery 
civilian  or  military  band  in  all  countries. 

52.  There  are  other  instruments  in  use  today 
which  are  simply  modifications  of  the  Saxhorns,  and 
for  this  reason  they  are  considered,  and  described 
in  most  works  upon  instrumentation,  as  such.  It 
is  better,  however,  to  distinguish  these  modified  in- 
struments from  the  real  Saxhorns  by  designating 
them  with  the  name — which  they  have  acquired  in- 
ternationally— of    TUBAS,-    thereby    obtaining    a 


definite  designation  for  that  section  of  the  Brass 
which  may  or  may  not  be  employed  by  composers 
and  bandmasters,  according  to  the  requirements  of 
the  organization. 

53.  The  family  of  Tubas  used  today  contain  the 
following  five  instruments: — • 

Alto  Tuba  in  Eb  derived  from  the  modern  Sax- 
horn, No.  4  (i^age  61). 

Tenor  Tuba  in  B'>  derived  from  the  modern  Sax- 
horn, No.  5  (page  61). 

Baritone  Tuba  in  Bb'  (generally  known  as 
Euphonium)  derived  from  the  modern  Saxhorn, 
No.  6  (page  61). 

Bass  Tuba  in  F  or  Eb  derived  from  the  modern 
Saxhorn,  No.  7  (page  61). 

Contrabass  Tuba  in  C  or  Bb  derived  from  the 
modern  Saxhorn,  No.  8  (page  61). 

54.  The  difference  between  the  Saxhorns  and  the 
Tubas  consists  in  the  latter  having  a  deep  bowl-cup 
mouthpiece''  (see  figure  C,  page  65);  a  tube  which  is 
about  one-third  its  length  cylindrical  and  two-thirds 
conical;  four  valves  and  bell  straight  upright. 

In  consequence  of  these  differences,  the  Tubas 
produce  a  tone  of  a  lighter  shade, — something 
between  the  Horn  and  the  Trombone,— whereas  the 
mellow-tone  of  the  Saxhorns  pertains  to  the  darker 
shades  of  all  the  brass  instruments. 

It  is  therefore  necessary  to  make  a  distinction 
between  the  Saxhorns  and  Tubas  when  employing 
these  instruments  in  the  modern  band  score. 


'In  Italy,  the  Sopranino  Saxhorn  has  been  introduced  of  lite  in  the  Infantry  Ban  J  in  place  of  the  Cornel  Soloist.  In  France  and 
Belgium  some  large  Military  Bands  and  Fanfares  also  use  the  Sopranino  Saxhorn,  but  not  as  a  solo  instrument. 

=The  Saxtrombas,  instrument  invented  by  Adolph  Sax  towards  the  middle  of  the  nineteenth  century— which  never  reached  inter- 
national popularity  and  soon  became  obsolete^are  described  as  possessing  approximately  the  characteristics  of  the  modern  Tubas. 
The  intonation,  harmonic-series  and  scale  of  the  Saxtrombas  are  the  same  as  on  the  original  Saxhorns  (Paragraph  46).  In  addition, 
however,  a  little  Sopranino  (Super-acute  Saxtromba  in  B?),  tuned  a  perfect  fifth  above  the  Eb  Sopranino  Saxhorn,  completes  the 
family  of  the  Saxtrombas.     The  compass  of  this  instrument  is  given  by  Gevaert  (  Nouveau  traite  d' Instrumentation)  as  follows: 


written 


Super-acute  Saxtromba  in  Bb 


« 


-I 


i< 


i 


sound 


-&- 


Q. 


'Alberto  Franchetti  emplovcd  in  his  opera Germn«ia  four  B^-Tubas  (Euphonium^)— mdicated  as  Tubas  i»  C— and  on3  Bass  Tuba. 

'The  Tuben  that  Wagner  introrl.irod  in  the  orchestration  of  the  Rinz  von  Mhclun^cn  were  supposed  to  be  pl.iycd  with  a  Horn 
mouthpiece;  this  the  Master  wanud,  i  resumablv,  with  the  thought  that  these  in^-trum.nts  would  bk-ml  b.tter  with  the  Horns, 
Trumpets  and  Trombones,  and  also  for  nachint;  the  hii;h  harmonics  obtainable  on  the  Horn,  of  which  harmonics  h-  took  a.ly.intagc 
in  the  first  combination  of  Tubas— two  Ten  ,r-Tuhcn  inB  (15-)  and  Wxo  Bass-Tuhen  in  F.  In  fact,  in  this  first  combinatmn,  W  agntr 
used  the  same  notation  of  the  resoective  Horn  in  BS-Alto  and  Horn  in  F;— whereas  f..r  the  second  combination— two  Tcnor-1  uhen 
in  E  (Eb)  and  tno Bass-Tuben  in  B  (Bb)— he  used  the  same  notations  as  for  th.-  Alto  and  Tenor-Saxhorns,  to  which  they  correspond 
(see  Introduction,  page  20).  .  .  u-  u  u    ■    i-     »      •     .i 

Wagner's  idea  of  the  Horn  mouthpiece,  however  (as  well  as  in  the  instance  of  his  chanjiinj  o,  notation,  which  he  indicates  in  the 
score  of  W'alkiire  as  ■'ease  of  score-reading!")  has  not  b:cn  followed,  for  the  simple  rjason  that  it  was  impracticable,  and  now  the 
parts  of  these  Tuben  are  played  either  with  real  Tubas  or  with  Saxhorns. 


THE  BRASS 


63 


In  order  to  aid  the  student  in  identif\ing  the 
Saxhorns  and  Tubas  as  they  are  indicated  in  Amer- 
ican and  foreign  orchestra-  or  band-scores  (or  parts) 
the  following  list  of  these  instruments  (page  64)  in- 
cludes not  only  their  proper  technical  names,  but 
also  the  various  common  designations  by  which 
they  are  known  at  the  present  time. 

55.  It  will  be  noticed  in  this  list  that  the  Soprano 
Saxhorn  and  the  modern  conical-bore  B^-Cornet  arc 
considered  as  identically  the  same  instrument.  It 
must  be  observed,  however,  that  the  Cornets  (in 

'See  Introduction,  page  20. 


B>  or  A),  generally  used  in  small  orchestra  in  place  of 
the  Trumpets,  are  built  on  the  principle  of  the  Tubas 
— with  their  tubing  one-third  of  the  length  c>liiuln- 
cal,  and  two-thirds  conical,'  and  are  played  with  a 
deep  bowl-cup  mouthpiece  (figure  C,  page  65); 
but  in  the  band  the  real  Soprano  Saxhorns  (conical 
bore)  are  to  be  preferred  to  attain  the  necessary 
contrast  of  tone-color  between  these  instruments 
and  the  Trumpets;  whereas,  with  the  partly-cylin- 
drical-bore Cornets,  such  a  contrast  is  lost. 


64 


WIND  INSTRUMENTS 


TECHNICAL  AND  COMMON  NAMES  OF  THE  SAXHORNS  AND  TUBAS 


Technical  Names 


Common  Names 


u 

a 
o 

o 


Xi 

c 

o 

u 


u 

> 


a 
u 

B 
o 
u 

's 

e 
ic 

3 

•O 
C 
« 

a 

JS 

3 
O 


a 

3 
U 


SI 

> 
> 


English 

SOPRANINO    SAXHORN 
in  E!> 

hgure  20,  page  76 

SOPRANO  SAXHORN 
in  Bb 

figures  21  and  22,  page  76 

MEZZO-SOPRANO 

SAXHORN,  in  Bl» 

figure  23,  page  76 


ALTO    SAXHORN    in   El. 

figure  24,  page  76 


TENOR  SAXHORN  in  Bb 

figure  25,  pago  77 

BARITONE  SAXHORN 
in  Bb 

figure  26,  page  77 


BASS   SAXHORN    In    Eb 

figure  27,  page  77 


CONTRABASS 

SAXHORN  in  Bb 

figure  28,  page  77 


English 

Eb-Cornet 
Eb-Bugle 


Italian 


French 


Petit  Bugle 
r,-  c  ^        •        Buele  Soprano 

Fluorno  Sopranmo   Bugle  So pranino 


Pistonino 


German 
Piccolo  Cornel  in  Es 


Cornetta  a  Piston i       Cornel-d-Pistons         Piston  in  B 


Bb-Cornet 

bma       ore  Cornetta  Francese       Saxlromba  Soprano    Soprano  Cornel 


Bugle 
Flugelhorn 


„, .  Bugle 

fluorno  (j^    j^  ^     J  Flugelhorn 

Flicorno  Soprano       ^^^,^  Contralto 


Alto-Cornet  Flicorno  Contralto       Bugle  Alto 

Bass  1  rumpet  in  fc,b 


Bb-Tenor 
Tenur-horn 


Baritone 
Bb-Bass 


Eb-Bass 
Eb-Bombardon 


BBb-Bass 


Bassoflicorno 
Flicorno  Tenore 


Tenor  en  5(b 
Bugle  Bar y ton 


Althorn 

Alto  Cornet  in  Es 


Tenorhorn 


Bombardino  Barvton 

Flicorno  Barilono  ' 


Bar\ton 


Bombardone  in  Mib    Bombardon  en  Mib    o        ■     n- 
FlicornoBasso-Crave    Contrabass  en  Mi]f 


Pellittone 
Flicorno  Contra- 


basso 


Helicon 
Contrabasse  en  Si? 


Kontrabass  in  B 


•o 

e_ 

a  a 

^ 

oH 

u  c 

.i  0 

■00 

II 

u 

a 

3 

3* 

s 

■r  "o 

u 

S  c 

O 

0-- 

<M 

J=>> 

4*  \eo 

a)-\ 

■w 

•««« 

^e 

ll> 

> 

^s> 

S  3 

•* 

ALTO  TUBA  in  Eb 

figure  31,  page  79 


TENOR  TUBA  in  Bb 

figure  32,  page  79 


BARITONE  TUBAJn  Bb 

figure  3i,  page  79 


BASS  TUBA    {IJJIj, 

figure  34,  page  79 


CONTRABASS         /  in  C 
TUBA  \  in  Bb 

figure  35,  page  79 


Eb-Alto 
Eb-Tenor 


Tenor-Tuba 


Euphonium 
Bb-Tuba 


Tuba 


Clavicorno  in  A/;b 
Genis,  Sax 


Saxhorn  Tenor  en 


Mib    Tuba  Alto  in  Es 


Saxlromba  en  Mi'? 


Clavicorno  in  SH>        Tuba  Tenor 


Eufonio 
Bassetto  in  Si\> 


Tuba  en  5ib 
Basse  en  SH> 


Tuba  Tenor  in  B 


Euphonion 
Tuba  in  B 


F-  and  Eb-Tubas        ■^''"'  '"  ^^  '  ^^'^      lax'tr'^mMBasse         Bass-Tuba 


X  K  Tuba-Contrabasse 

Bass-Iuba  Bassi  in  Do  e  Si\?       Saxlromba  Kontrabass-Tuba 

CC-andBBb-Tubas  Contrabasse 


THE  BRASS 


65 


56.  The  first  six  Saxhorns — Sopranino  to  Bari- 
tone— are  written  for  in  the  transposing  Treble-clef; 
the  last  two,  Bass  and  Contrabass,  in  actual-sounds, 
Bass-clef. 

The  Alto  and  Tenor  Tubas  are  written  for  in  the 
transposing  Treble-clef,  and  the  Baritone,  Bass  and 
Contrabass  Tubas  in  actual-sounds,  bass-clef. 

The  other  brass  instiuments,  viz.:  Horns,  Trum- 
pets and  Trombones,  all  having  a  distinct  part  in 
the  Symphony  Orchestra,  are  more  under  the  con- 


trol of  competent  musicians — composers  and  con- 
ductors— and,  therefore,  are  found  only  in  standard 
models,  and  are  known  internationally  under  their 
proper  names.  For  the  Horns'  and  Trumpets'  nota- 
tions (see  explanatory  note,  page  40).  The  actual 
sound — tenor  or  bass-clef — notation  is  used  for  the 
Trombones. 

57.  The  modern  brass  instruments  will  thus  be 
classified,  after  the  shape  of  their  respective  mouth- 
pieces and  their  tubing,  as  follows: — 


HORN 


SAXHORNS 


Conic-cup 
mouthpiece. 

Tubing: — long,  narrow  and 
conical. 

Side  bell. 


Bell-cup 
mouthpiece. 

Tubing: — short  and  conical 
in  all  its  length. 

Front  bell. 


TUBAS         TRUMPETS  and  TROMBONES 


Deep  l)owl-cup 
mouthpiece. 

Tubing: — one-third  of  the 
length  cylindrical  and 
two- thirds  conical. 

Upright  bell. 


Shallow  bowl-cup 
mouthpiece. 

Tubing: — tvvo-thirds  of  the 
length  cylindrical  and 
one-third  conical. 

Front  bell. 


66 


WIND  INSTRUMENTS 


Note. — Figure  A,  in  the  preceding  page,  shows 
the  correct  size  of  the  only  conic-cup  (Horn)  mouth- 
piece. 

Figures  B,  C  and  D  show  the  correct  size  of 
mouthpieces  for  the  Sopranos'  of  each  group  of 
instruments.  The  mouthpieces  of  the  other  instru- 
ments in  the  group  retain  the  same  shape  of  the 
Soprano  mouthpiece,  but  increase  in  size  as  the 
instruments  are  voiced  lower. 

The  Slide-Trombone  mouthpiece — though  having, 
in  its  proportion,  the  same  shallow  cup  as  figure 
D — is  constructed  differently  in  the  lower  part,  i.  e. : 
the  shank  is  made  either  almost  cylindrical  in  its 
exterior  (in  order  to  set  in  the  tube  in  place  of  the 
so-called  "leader")  or,  if  a  "leader"  is  built  into  the 
instrument,  the  shank  is  then  made  shorter,  like 
that  of  the  Tuba  mouthpiece — (Fig.  C). 

(b)  Harmonic  Series  and  Scale 

58.  The  cup-mouthpiece  instruments,  owing  to 
their  tube  (conical  in  its  whole  length  or  in  part) 
work  al.so  on  the  principle  of  the  open-pipes,  gi\ing 
the  same  fundamental  toneas  an  open-pipe  of  the  same 
length,  and  the  harmonic-series  in  natural  order, 
with  the  partial-tones  of  even  and  uneven  numbers. 

The  narrower  and  longer  the  tubing  of  these  in- 
struments, the  greater  is  the  number  of  the  har- 
monics produced  (paragraph  4). 

59.  Every  brass  instrument,  without  the  use  of 
valve  or  slide,  produces  with  its  principal  tube  the 
harmonic-series  of  the  fundamental  tone  in  which 
it  is  tuned,  i.  e. :  the  Horn  in  F  gives  the  harmonic- 
series  of  F.     The  principal  tube,  however,  can  be 


lengthened  so  as  to  tune  the  instrument  from  one 
to  six  semitones  lower;  thus  producing,  with  the 
principal  tube,  seven  different  harmonic-series. 

For  instantaneous  changes,  from  one  to  another, 
of  these  seven  different  pitches,  two  different  devices 
are  employed,  viz.:  (1)  the  slide  on  the  Slide- 
Trombones,  and  (2)  the  valves  on  all  the  other 
brass  instruments. 

The  slide,  which  is  controlled  by  the  player's 
hand,  varies  the  length  of  the  tube  from  the  1st  to 
the  7th  position,  so-called,  approximately  as  follows: 
— ^For  the  1st  position  the  slide  is  closed;  from  the 
1st  to  the  2nd  position  the  slide  is  extended  3^ 
inches;  from  the  2nd  to  the  3rd  position  the  slide 
is  extended  3}^  inches;  from  the  3rd  to  the  4th 
position  the  slide  is  extended  3%  inches;  from  the 
4th  to  the  5th  position  the  slide  is  extended  A}/^ 
inches;  from  the  5th  to  the  6th  position  the  slide  is 
extended  4J^  inches;  from  the  6th  to  the  7th  position 
the  slide  is  extended  A^i  inches. - 

60.  The  valves  open  communication  from  the 
principal  tube  to  three  additional  tubes,  so  dis- 
posed : — 


1 

1  tone 


2 

Y2  tone 


3 

1J4  tone 


Using  a  Tenor  Slide-Trombone,  which  is  tuned  in 
Bb,  and  a  valve  instrument  of  the  same  pitch,  e.  g., 
a  Bb-Tenor  Saxhorn  (written  for  in  actual  sound) 
the  result  will  be  that  the  two  instruments  will 
perform  the  same  seven  harmonic-series,  as  shown 
on  the  following  page. 


'The  Soprano  of  the  Tuba  family  is  in  reality  the  Cornet-a-pistons  (see  paragraph  55). 

'The  above  numbers  in  inches  are  doubled  when  referring  to  the  total  length  of  tub2,  as  the  slids  is  formed  oi  two  parallel  tubes, 
connected  at  the  bottom,  forming  a  U  shapj  (see  page  80j:  thus  to  tun^  the  Trombone  from  one  to  six  s-'mitones  lower,  the  tube 
measurement  of  each  chan,;e  is  increased  \  in.  for  every  semitone. 


THE  BR.^SS 


67 


Slide  and  Valve  Instruments  Compared 


Positions 

ISlidel     l3-valvesl 

1st  0  0  0 


2nd  0  2  0 


3rd  10  0 


4th 


00  3 

or  1  2  0 


5th  02  3  ^ 


6th  103 


•7th  123 


(OO 


10 


1 

2 

3 

!,* 

6 

e 

(I'l 

I. 

^ 

!>           u     r     1      '      '      '      ' 

1 

-*¥. 

1 

(9 

¥ 

;^ 

(^) 

a. 

?          ^ 

2. 

—Z' 

4— 

1 

u 

f 

¥ 

ih) 

h^          \> 

> 

2. 

-^. j Vp T 1 ..1                1                1         =: 

^^ \rr. 1 

(U)         U  ^P:  ^^ 


The  notes  of  the  high  harmonics,  being  near  each  other,  can  be  executed  in  two  or  more  different 
ways;  the  player,  ho\ve\cr,  chooses  the  shortest  positions,  i.  e.  nearest  to  the  first  harmonic-series  (in  which 
the  instrument  is  tuned),  for  their  tone  is  richer  and  purer  on  both  the  shde  and  valve  instruments. 

61.     Hence,  the  scale  is  formed   from   the  above  seven  harmonic-series  as  follows: — 


EXPLANATORY  NOTE 


The  tones  of  the  first  harmonlc-scrles,  profliiced  l)y  the  instruments  are,  numbered  al)ove  the  staff.    The  numbers  under  the  notes 
in<Mcate  the  positions  of  the  shde,  which  correspond  to  the  positions  of  the  valves  as  sliown  above. 


vcrydifficult 

-^ 10^ 


#f¥¥f-¥f-'## 


76'>-5434 


7       «  5      7    6"       5   6 


68 


WIND  INSTRUMENTS 


62.  The  three-valve  system,  tliat  won  preference 
over  the  six  independent-valve  system  because  of 
its  practicability  and  lightness,  has,  however,  the 
following  defects,  which  are  worth  the  consideration 
of  the  conscientious  instrumentator. 

The  last  three  harmonic  series  (O,  F  and  E) — 
for  performing  which  more  than  a  single  valve  is 
required — lack  in  their  intonation,  because  the  two 
or  three  additional  tubes,  used  simultaneously,  do 
not  measure  the  exact  and  necessary  length  to  lower 
the  instrument  to  that  pitch'.  This  is  easily  ex- 
plained : — 

The  Tenor  (slide)  Trombone  (in  B'?),  from  the 
G  to  the  G\?  series,  lengthens  its  tube  81/^  inches; 
from  the  Gb  to  the  F  series  lengthens  its  tube  Sjg 
inches;  from  the  F  to  the  E  series  lengthens  its  tube 
93^  inches  (see  foot-note  No.  2,  page  66). 

On  the  contrary,  the  Tenor  Saxhorn  in  Bb — for 
each  of  the  above  three  changes — always  lengthens 
its  tube  about  6/^  inches,  thus: — the  Gb-series 
results  about  3^  of  a  tone  sharp ;  the  F-series  results 
about  3^^  of  a  tone  sharp;  the  E-series  results  about 
H  of  a  tone  sharp. 


The  player,  with  his  lips,  can  easily  correct  the 
5th  series,  but  not  so  the  6th  and  7th,  for  which  a 
very  unnatural  lip-pressure  is  required  in  order  to 
approach  the  right  intonation.  In  consequence  of 
this  lip  effort  the  tone  becomes  deadened,  unsteady, 
weak  and  very  difficult  of  attack. 

63.  Fortunately,  however,  only  the  harmonics  2 
and  3  of  the  6th  and  7th  series  are  found  to  be  used 
on  valve  instruments,  for  the  tones  of  the  higher 
harmonics  are  also  found  in  the  upper  series,  where 
they  are  preferred  for  their  intonation  and  quality 
of  tone.  These  false  tones  of  the  6th  and  7  th 
series,  however,  if  overlooked,  are  enough  to  spoil  a 
passage  of  otherwise  good  scoring,  especially  so  if 
they  are  in  a  prominent  solo  part  or  in  sustained 
chords.  The  instrumentator  must  av^oid  them  by 
interchanging  the  notes  with  other  instruments  of 
different  pitch.  The  four  defective  tones  are  easy 
to  remember;  they  are  the  first  and  second  semitones 
above  the  tonic-note  of  the  instrument,  w-ith  their 
respective  descending  perfect  fifths,  e.  g.,  on  the 
Tenor  Saxhorn  in  B?  the  four  defective  tones  are 
these: — 


tonic 


written 


T»r 


defect  ivp 


r 


tonic 


actual  d^ 
sound  ^= 


^E 


defective 

I 1 


zsn 


-cr 


64.  Among  the  valve  instruments  the  Horns  and 
Tubas  are  exempt  from  these  defects — the  Horn- 
players  being  able  to  correct  them  by  changing  the 
position  of  the  hand  within  the  bell,  and  the  Tuba- 
playsrs  by  using  the  fourth  additional  valve. 


65.  The  fourth-valve  (which  adds — to  the  length 
of  instrument — the  respective  fourth  additional 
tube)  generally  lowers  the  instrument  a  perfect 
fourth,*  i.  e.,  it  takes  the  place  of  the  first-valve 
(one  whole  tone)  and  third -valve  (one  and  a   half- 


'Some  instrument  makers  have,  of  late,  invented  a  new  device  called  "compensating  valves"  or  "enharmonic  valves,"  intended 
to  correct  the  discrepancy  of  the  three-valve  system.  It  consists  of  extra  pipe-loops,  which  enter  into  communication  with  the 
regular  additional  tutes  when  these  are  used  in  combination,  viz.:  2-3,  1-3  and  1-2-3.  A  device  of  this  nature,  if  it  could  be  per- 
fected, wouUl  mean  an  immense  improvement  in  the  construction  ot  valve  instruments. 

HDthcr  intonations  are  occasionally  given  to  the  fourth-valve,  viz.:  a  minor-third  lower,  a  diminished-fifth  lower,  etc.  from 
the  tonic-note  of  the  instrument;  but  the  perfect-fourth  lower  is  the  universally  accepted  intonation. 

For  the  sake  of  completeness  we  may  mention  here  a  new  Trumpet  in  C  (yet  unknown  to  us)  invented  by  M.  Franquin,  of  the 
Paris  Conservatory'.  It  is  described  as  having  "the  three  origin;il  valves  unaltered  and  the  addition  of  twinew  valves: — the  fourth 
valve  raises  the  instrument  by  a  tone  and,  the  fifth  lowers  it  by  a  tone  and  a  half  or  two,  as  one  chooses"  (?). 


THE  BRASS 


69 


tone)  together,  and  it  serves,  to  obtain  the  6th 
position  in  perfect  tune;  the  7th  position  with  the 
combination  of  the  second  and  fourtii  valves,  is  also 
much  better  in  tune  than  willi  the  first,  second  and 
third  valves. 

66.  It  is  a  mistake,  however,  to  believe  that  the 
fourth  valve  can  also  be  used  to  extend  the  down- 
ward compass  of  the  instrument.  This  wrong 
principle — advocated  in  some  text  books  in  con- 
sequence of  insufficient  knowledge  of  the  v^ahe 
system — has  lead  composers  and  instrumentators  to 
write  occasional  passages  beyond  the  lowest  limit 
of  the  Tubas — -passages,  therefore,  which  must  be 


1 


played  either  an  octave  higher,  or,  with  the  use  of 
the  fourth  valve,  out  of  tune,  producing  in  both 
cases — especially  the  last — undesirable  effects. 

One  example  will  suffice  to  show  plainly  the 
illogicalness  of  this  principle: — ■ 

Take,  for  instance,  the  Bb-Tuba  (Euphonium) 
and  tic  down  permanently  its  fourth  viilve,  thus 
bringing  into  function  the  fourth  additional  tube, 
you  then  have  the  instrument  tuned  down  a  perfect 
fourth,  which,  together  with  an  F-Tuba  pla\ing  in 
the  1st  position,  will  produce  in  unison  the  follow- 
ing harmonic  series: — 


m 


5 


— J, 

Let  us  consider  the  two  instruments  both  F-Tubas, 
and  let  them  play  the  other  six  positions  with   the 

same  fingering From  what  follows  you  will 

soon  be  convinced  that  a  Euphonium  changed  to 
F-Tuba  only  in  the  main  tubing,  retaining  its  three 
small  additional  tubes,  is  not  very  agreeable  to  the 
ear — even  the  profafie  ear! 

67.  The  fourth  valve  is  not  employed  on  the 
Trumpet'^possibly  because  the  additiomil   weight 


would  be  objectionable  to  the  players  of  this  in- 
strument. 

On  the  Saxhorns,  owing  to  their  tubing  being 
conical  throughout  their  length,  the  fourth  valve  is 
not  wholly  practicable:  the  long  additional  tube  in- 
terrui)ting  the  taper  of  the  instrument,  would  surely 
impair  its  scale. 

68.  The  harmonic-scries  and  scales  of  the  most 
used  cup-mouthpiece  instruments  are  given  in  the 
table  on  page  71. 


'See  foot-note  page  68. 


70 


WIND  INSTRUMENTS 


EXPLANATORY  NOTE 


In  the  following  table,  the  fundamental  tones.  No.  1 
(when  contained  in  the  instrument),  are  indicated  in 
whole  notes;  the  harmonics,  Nos.  2,  3,  4,  etc.  of  the 
first  series  are  indicated  in  half-notes,  and  the  tones 
produced  with  the  use  of  the  slide  or  valves  (not  num- 
bered), in  quarter-notes. 

The  extreme  low  notes,  which  are  divided  off  by 
brackets,  thus:  ],  are  dull  in  their  timbre,  somewhat 
heavy,  though  not  powerful,  and  difficult  to  attack. 
The  extreme  high  notes,  divided  by  brackets,  thus: 
[,  are  more  or  less  forced,  thin,  and  very  difficult  to 
attack,  especially  in  pianissimo  (see  also  table  on 
The  Band  Instruments,  pages  3-1  and  35). 

The  dotted  line  indicates  the  "middle  register," 
the  easiest  and  most  effective  part  of  the  instrument. 

In  this  table,  it  will  be  observed  that  the  instruments 
of  longer  and  narrower  tubing  reach  the  higher  har- 
monics, but  do  not  produce  the  fundamentals. 

The  partial  tones,  7,  11,  13  and  14,  which  do  not 
correspond  to  the  equal  temperament  scale,  are  not 
used  on  valve  instruments,  with  the  exception  of  the 
Horn,  for  the  reason  that  the  player  of  this  instru- 


ment can  correct  them  by  shifting  his  hand  in  the 
bell,  as  he  corrects  the  discrepancies  of  the  three- valve 
mechanism  (paragraph  62). 

With  the  exception  of  the  Horns  and  Tubas — 
the  latter  having  the  fourth  additional  tube  (para- 
graph 65) — the  defective  notes  of  the  6th  and  7th 
series  to  be  avoided  in  the  other  instruments,  are  all 
marked  with  a  cross,  thus:  -\- 

The  Bass-Trombone  indicated  in  this  table  is  now 
used  in  many  bands  and  orchestras  in  the  third  or 
fourth  Trombone  part.  It  is  a  large  bore,  B?  slide  Trom- 
bone, with  an  additional  tube  and  relative  valve — 
similar  to  the  fourth  valve  of  the  Tubas — which  lowers 
the  instrument  a   perfect  fourth:  to  F.       Note  that 


the  low  B-natural  indicated 

between  two  brackets: 


m 


m 


is  lacking  in  the  compass —  the  7th  position  required 
to  produce  this  tone,  extending  beyond  the  reach  of 
the  player's  arm. 


lis 


(f) 


C 

(D 

<D 

1-^ 

cd 
o 

;3 

U) 

c/) 

^a 

C 

c 

cd 

C/) 

C/) 

cd 

QJ 

i^ 

•1-H 

CQ 

<L> 

CO 

CD 

o 

t/5 

•1-H 
c 

!3 

(~) 

-*-> 

o 

cd 

f— ' 

n: 

72 


WIND  INSTRUMENTS 


(c)  Technique 

69.  The  brass  instruments  in  general  can  display 
more  agility  in  their  middle  register — that  is  (re- 
ferring to  the  preceding  table)  the  notes  comprised 
within  the  dotted  line.  In  this  part  of  the  compass 
the  instrumentator  can  rely  for  any  dynamic  degree 
from  the  extreme  pianissimo  to  the  most  powerful 
forlissimo  in  either  sustained  notes,  legato  or  stac- 
cato passages,  etc. 

70.  Only  in  the  middle  register  can  the  Horns, 
Trumpets  and  Trombones  and  the  high  Saxhorns  be 
muted  with  good  results — -it  is  practically  impossible 
to  use  the  low  Saxhorns  and  Tubas  with  mute,  on 
account  of  the  large  bell  of  these  instruments. 

71.  The  technique  for  the  cup-mouthpiece  instru- 
ments— more  than  the  other  wind  instruments — is 
afTected  by  a  natural  law,  whereby  the  difficulty  in 
execution  increases  in  proportion  to  the  increasing 
size  of  the  instrument  (see  paragraph  30,  page  46). 
The  lips,  functioning  as  a  reed,  in  a  small  cup- 
mouthpiece  can  vibrate  with  great  ease,  attaining 
a  degree  of  technique  almost  equal  to  that  of  the 
small  keyed  instruments;  but  as  the  cup  grows  larger, 


covering  more  and  more  the  player's  mouth,  the 
vibrating  control  becomes  weaker,  rendering  it  im- 
possible, even  for  the  most  highly  skilled  performers, 
to  obtain  as  high  a  degree  of  technique  as  that 
attained  to  for  some  of  the  keyed  instruments  of 
the  corresponding  pitch. 

This,  we  hope,  will  suffice  to  place  the  student  on 
the  lookout  so  that  he  may  never  attempt  to  exceed 
the  moderate  difficulties  in  tke  parts  for  the  large 
brass  instruments.  This  rule  is  strictly  observed 
in  the  score  examples,  in  Parts  II  and  III.  When 
confined  within  that  limit  the  Brass  will  then  pro- 
duce the  best  possible  results. 

72.  Rapid  tremolos  on  vaK'e  instruments  are  im- 
practicable and,  even  in  a  moderate  movement, 
repetition  of  somewhat  large  intervals  should  be 
avoided  as  much  as  possible.  It  may  be  accepted 
as  a  rule  that,  regardless  of  the  fingering — being 
simple  or  awkward — the  slurred  repeated  intervals 
are  quite  easy  up  to  the  major-thirds,  but  from  the 
perfect-fourth  upward  they  become  more  and  more 
difficult — owing  to  the  necessary  quick  changes  in 
the  lip-pressure.     For  example: — 


Horn, Trumpet 
or  Saxhorn 


easy 


rather 
difficult 


d'fficult 


vcrv  difficult 


etc.' 


73.  Major  and  minor  trills  for  valve  instruments 
are  also  to  be  used  with  much  caution,  as  on  some 
notes  of  the  scale  they  are  very  difficult  or  impos- 
sible. It  must  also  be  noticed  that  the  effect  of 
trills  on  valve  instruments  is  rather  harsh,  especially 
in  the  Horns  and  low-voiced  Saxhorns.  Yet  there 
are  special  instrumental  effects  in  which  even  the 
harshest  trills  in  the  Brass  become  very  appropriate. 


74.  The  aid  of  valves  is  out  of  the  question  for 
major  trills  in  the  high  register;  these  trills — as  on 
the  slide  Trombone — are  executed,  without  valves, 
by  rapid  changes  in  lip-pressure  (see  foot-note, 
page  74). 

75.  All  the  trills  possible  on  valve  instruments 
are  to  be  found  in  the  next  table. 


EXPLANATORY  NOTE 

In  the  following  table  the  trills  indicated  by  whole  notes  arc  the  best',  resulting  clear  and  in  tune;  and  those  indicated  by 
quarter-notes  are  inferior  in  tune  and  clearness.  The  lip-trills,  separated  by  brackets  ([)  are  indicated  only  for  the  sake  of  com- 
pleteness, they  should  never  be  used  in  orchestra  or  band  parts  as  very  few  performers  are  found  who  have  specialized  in  these  and 
other  tricky  executions. 


Possible  Trills  for  the  most  used  Valve  Instruments 


73 


Whole  Tone 


Half-tone 


Whole  Tone 


Half-tone 


Whole  Tone 


Half-tone 


Horns(m  Fand  Eb) 
tr~ 


t-with  lips... 


Transposing  Saxhoms;  CornetS  and(Modern)Tri!impetS 


With  valves.. 


|„  o  j{J«it'"  \°   ^ff" 


Whole  Tone    ^E 


Eb  Bass  Saxhorn  and  Eb  Tuba 


\, 


j  bi        lli   J  I"    °    '"'  '1*^  ^^  ^^ 


with  valvKb.. 


Half-tone 


Whole  Tone 


Half-tone 


J^l^^ll 

Bb Contrabass  Saxhorn  and  BI 

Jb  Tuba 

It 

i 

...  •■ 

it 

8                          S                It                   t 

— 1 

^%-- 

=4= 

_J ^ u lJ — .— Jt, — e Ilu_ 

h..    !>»     Il«* — "- 

^4^ 

t*"! 

1 

b5        K^ 

with  yalvei.. 


fr-    fr-~ 


B.M.Co.6244 


74 


WIND  INSTRUMENTS 


76.     Repeated  intervals  on  the  slide  Trombone  are  possible  only  in  a  very  moderate  movement.     Inte. 
vals  combined  with  distant  positions  (1st  to  5th,  6th  or  7ih;   2nd  to  6th  or  7th,  etc.)  are  very  difficult  and  they 
can  be  used  only  in  very  slow  passages,  e.g.: — 


Moderate 

from  Bk.. 


from  A. 


^ 


i 


2--: 


m 


77.     Trills  are  impracticable  on  the  slide  Trombone,  with  the  exception  of  the  following  major  (whole 
tone)  lip-trills: — • 


(r^ 


i"    '■°    ^ 


ki 


» 


^f  t  t  f 


very  difficult . 


_l 


extremely  difficult 


but  their  use  in  scoring  is  not  advisable  as  they  can  be  performed  only  by  very  few  players.* 

78.  The  Trombone's  glissaiido,  occasionally  used  in  burlesque-  or  in  dance-music,  can  be  produced 
only  on  certain  groups  of  notes  which  pertain  to  the  partial  tones  of  the  same  number  in  the  seven  harmonic 
series  of  the  instrument,  i.  e.,  the  longest  gUssando  can  be  played  on  each  group  of  .seven  notes  that  run 
straight  from  position  1  to  7  or  vice-versa  (see  page  67),  thus  using  the  entire  length  of  the  slide: — 


Partial  tone  2 


P.  Tone  3 


^ 


^ 


52S 


a 


P.  Tone  4 

l^^- 


etc. 


The  glissandi  may  be  curtailed  to  six,  five,  four,  three,  or  two  notes  as  required,  by  using  only  a  portion 
of  the  slide.  While  glissandi  are  easy  to  execute  on  partial  tones  of  the  same  number,  they  are  impossible 
on  groups  of  notes  pertaining  to  different  partial  tones,  for  example: — 


easy 


P.  Tone  3        P.  Tone  4 


P.  Tone  3 


PTone  5 


-1    r 


all  frlissando  234. 

0.432     1        ^^^    fi        L  3    4 


impossible 


nioneS    P.  Tone  3 


PTone 3    PTone  3       PTone  2 


'These  lip-trills  are  formed  with  two  [larti-il  tones  of  the  same  harmonic  series  (see  page  67),  and  in  order  to  execute  them,  the 
player  must  submit  his  lips  to  a  special  training,  which,  in  most  cases,  is  injurious  to  the  quality  and  steadiness  of  the  tone. 


THE  BRASS 


/o 


(d)  Quality  of  Tone 

79.  The  quality  of  tone  of  the  cup-mouthpiocc 
instruments  may  be  briefly  described  as  follows: — ■ 

HORN'S: — Mellow;  rich,  highly  penetrating  and 
expressive  when  played  naturally,  and  blast- 
ing, aggressive,  when  forced.  Excellent,  when 
muted,  for  distant  or  echo  effects. 

SAXHORNS: — Very  mellow;    sweet,  mysterious, 

gloomy  in  piano;  human-\'oice-like  in  mezzo- 
forte  and  forle,  powerful  in  fortissimo.  The  high 
voiced  Saxhorns  (Bugle-shape)  can  also  be 
employed  with  mute;  the  low-voiced  Saxhorns 
are  impracticable  with  mute  (see  paragraph  70). 

TUBAS: — Somewhat  brilliant;  very  sonorous, 
rich  and  of  good  blending  quality  with  the  other 
wind  instruments.  Impracticable  with  mute, 
(see  paragraph  70). 


Trumpets  and  Trombones: — Brilliant;  pene- 
trating and  of  great  carrying  power;  noble  in 
piano;   pompous  in  forle  and  strident  in  fortis- 
simo.    The  mute  can  be  employed  effectively 
on  both  the  Trumpet  and  Trombone. 
80.  The  foregoing  descriptions  of  the  quality  of 
tone  of  the  Brass  refer  toe:ich  of  the  various  families 
taken  in  its  entirety.     The  single  instruments  em- 
ployed separately,  or  associated  with  other  groups, 
according  to  the  situation  (harmonic,  rhythmical  or 
dynamical),  with  their  timbre  will  produce  new  tonal 
tints,  express  new  feelings  or  impart  more  vitality 
to  the  ensemble. 

This  and  other  knowledge  in  the  possibilities  of 
wind  instruments,  the  student  will  acquire  through 
that  greatest  of  all  teachers,  viz.:  "EXPERIENCE" 
— practical  experience  in  score-reading,  instrumenta- 
ting  and  conducting. 


76 


WIND  INSTRUMENTS 


Illustrations  of  the  Modern  Brass  Instruments 


Fig.   20— SOPRANINO 
SAXHORN  in  Eb 


Fig.  2/— SOPRANO 

S.AXHORN  in  Bb  or  A 

(Cornet  Model) 


Fip.  i9— HORN  in  F  or  Eb 


Fig.  22— SOPRANO 

SAXHORN  in  Bb 

(Bugle  Model) 


Fig.  2J— MEZZO-SOPRANO 
SAXHORN  in  Bb 


Fig.  24— ALTO 
SAXHORN  in  Eb 


THE  BRASS 


77 


Illustrations  of  the  Modern  Brass  {cor.tinucd) 


Fig.  25 

TENOR 

S.\XHORN 

in  Bb 


Fig.  27 

BASS 

SAXHORN 

in  El» 

(Upright  Model) 


Fig.  26 

BARITONE 

SAXHORN 

in  B> 


Fig.  28 

CONTRABASS 

SAXHORN 

in  B> 

(Upright   Model) 


78 


WIND  INSTRUMENTS 


Illustrations  of  the  Modern  Brass  (continued) 


Fig.  29— BASS  SAXHORN  in  Et> 
(Circular  Model) 


Fig.  JO— CONTR.\BASS  SAXHORN  in  Bb 
(Circular  Model) 


THE  BRASS 


Illustrations  of  the  Modern  Brass  {continued) 


Fig.  31 
ALTO  TUBA  in  E? 


Fig.  32 
TENOR  TUBA  in  Bb 


Fig.  JJ— BARITONE  TUBA  in  Bb 

abbreviated  "B>-Tuba,"  also 

known  as  "Euphonium" 


Fig.  54— BASS  TUBA'  in  F  or  E!. 

abbreviated  "I"-  or  1".'>-Tulia" 


Fig.  J5— CONTRABASS  TUBA'  in  C   or   Bb 

abbreviated  "CC-  or  BB':>-Tuba" 


'Bass  and  Contrabass  Tubas  are  also  made  in  circular  model,  but  the  upright  ones  arc  m\i-\\  more  preferable  and  are   in 
general  use. 


80 


WIND  INSTRUMENTS 


Illustrations  of  the  Modern  Brass  {continued) 


Fig.  J(5— TRUMPET  in  B^or  A 


Bg.  J7— TRUMPET  in  Eb 


.J 


Fig.  J.?— VALVE  TROMBONE 
(Tenor) 


Fig.  JP— TROMBONE 
(Tenor  in  Bb) 


Fig.  40— BASS-TROMBONE 
(in  Bb  with  F- valve) 


INDEX 


PAGES 

Accidentals  in  transposition  42-43 

Accordion  (or  Concertina) — Compass  and 

notation  23 

Acis  and  Galatea:  use  of  Flageolet  14 

Acoustical  principles  of  tlie  wind  instruments  37 

Actual-sound  bass-clef  39 

Actual-sound,  treble-clef  39 
Alto  Clarinet  (see  Clarinets) 

Alto-clef  42 

Alto  Cornet  in  Es  64 
Alto  Flute  (sec  I'lutes) 

Alto  instruments  in  F  and  E!> — Transposition  41 
Alto  Saxhorn  (see  also  Saxhorns) — 

Descrii)tion  61 

Technical  antl  cominoti  names  64 
Alto  Saxophone  (see  Saxophones) 

Alto  Trombone  in  Ei' — Compass  and  notation  22 
Alto  Tuba  (see  also  Tubas) — 

Description  62 

Technical  and  common  names  64 
Alto  (or  Contralto)  Voice — Compass  and  notation  11 

Althorn  64 

American  band  publications  32 

Ancient-cymbals — Compass  and  notation  27 

Anvils  27 

Artificial  harmonics  on  bowed  instruments  30 

Band- 
Definition  6 
See  Sym|)I)()ny  and  Military  Band  31 
Band  instruments  31 
Score  order,  compass,  notation  ancl   trans- 
position                                                          34-35 
Band-parts  of  other  publications  distributed  to 

the  Symphony  Band  32 

Bagpipe — Compass  and  notation  23 

Ballalaica — Compass  and  notation  28 

Banjo  (regular) — Compass  and  notation  28 

"Baritone"  64 

Baritone-clef  42 
Baritone  instruments  in  B>  and  Eb — 

Transposition  41 


61 
64 


62 
64 

11 


PAGES 

Baritone  Oboe  (see  Heckelphone) 
Baritone  Saxhorn  (see  also  Saxhorns) — 
Description 

Technical  and  common  names 
Baritone  Saxophone  (see  Saxophones) 
Baritone  Tuba  (see  also  Tubas) — 
Description 

Technical  and  common  names 
Baritone  Voice — Compass  and  notation 
Bass  Clarinet  (see  Clarinets) 

Bass-clef  (actual  sound  and  transposing)  42 

Bass  Drum  26 

Bass  Flute  in  C  (invented  by  Albisi) — Compass 

and  nf)tation  14 

Bass  Flute  in  G  (see  Flutes) 

Bass  in  Es  64 

Bass  instruments  in  B':> — Transposition  41 

Bass  Sarrusophone  (see  Sarrusophones) 
Bass  Saxhorn  (see  also  Saxhorns) — 

Description  61 

Technical  and  common  names  64 

Bass  Saxophone  (see  Saxophones) 
Bass  Trombone  in  Bb  and  F  (see  also  Trom- 
bones)— Compass  and  notation  22,  34-35 
Low  B-natural  lacking  in  the  compass  70 
Bass  Tuba — Technical  and  common  names             64 
Bass  Trumpet  (see  Trumpets) 
Bass  Tuba  (see  Tubas) 

Bass  Voice — Compass  and  notation  11 

Basse  en  Si>  64 

"Basses"  32 

Bassoon — 

Compass  and  notation  16,  34-35 

French  system  57 

Harmonic  series,  scale  and  registers  54 

Illustration  60 

Quality  of  tone  58 

Bassetto  in  Sib  64 

Bassi  in  Fa  e  Mib  64 

Basso  Cantante  (voice) — Compass  and  notation     11 

Basso  Profondo  (voice) — Compass  and  notation     11 

Bassoflicorno  64 


81 


82 


WIND  INSTRUMENTS 


PAGES 

"Bb-Bass"  32,  64 

"BBb-Bass"  64 

"Bb-Tenor"  32-64 
Bells  (see  also  Tubular  Bells) — Compass 

and  notation  27,  34-35 

Berlioz  58 

Bombardino  64 

Bonibardone  in  Mib  64 

Bourdon  (see  Organ)  24 
Bowed  stringed   instruments — -Compass 

and  notation  30 

"Brass" — Definition  38 

Brass  Band — Definition  6 
Brass  instruments — 

Classified  after  their  tubing  and  mouthpiece     65 

Harmonic-series,  scale  and  registers  71 

Major  and  minor  trills  for  valve  instruments     72 

Muted  72 

Quality  of  tone  75 

Section  III  (see  band  instruments)  34-35 

Technique  72 

Tremolos  impracticable  72 

T>pcs  of  instruments  and  notation  61 

Bugles — Compass  and  notation  1 7 

Bugle  Bariton  64 

Bugle  Corps  5 

Bugle  Sopranino  64 

Bugle  Soprano  64 

C-clef  42 

Carillon  (see  Bells) — Compass  and  notation  27,  34-35 
Castanets  26 

Celesta — Compass  and  notation  27,  34-35 

'Cello  (see  Violoncello)  30 

Cello-Banjo — Comi)ass  and  notation  28 

Cembalo,  Hungarian, — Compass  and  notation        30 
Chaiumeau  (see  Clarinets)  45 

Changeable  pitch  (see  Percussion  instruments)       26 
Chant  de  la  Cloche:  use  of  Ty|)oplione  28 

Children's  Voices — Compass  and  notation  1 1 

Chimes    (see    also    Tubular    Bells) — Compass 

and  notation  27 

Chinese-Drum  26 

Chromatic-Harp  29 

Circular  model  Saxhorns — Illustrations  18 

Clarinets — 

Boehm  System  49 

Compa  s  and  notation  12-13,  34-35 

Dynamics  50 

Efficiency  in  band  music  46 

Fingered-tremolos  46-49 


Clarinets — Continued 

Harmonic  series  and  scale 

Illustrations 

Quality  of  tone 

Registers 

String-tremolos 

Techniciue 

Trills  and  tremolos 

Types  of  instruments  and  notation 
Clarion  (see  Organ) 
Cla\icorno 

Clefs,  actual  and  guide, 
"Compensating  valves" 
Compass  of  band  instruments 
Conical  bored  instruments — Characteristics 
Conic-wood  instruments — 

Definition 

Fingered  tremolos 

Harmonic  series,  scale  and  registers 

Illustrations 

Quality  of  tone 

Section  1 1  (see  band  instruments) 

Technique 

Trills  and  tremolos 

T>-pcs  of  instruments  and  notation 
Conducting 
Contents 

Contrabass  or  Double-Bass  (stringed) — Com- 
pass and  notation 
Contrabass  Clarinet  (see  also  Clarinets) — 

Actual-sound  bass-clef  notation  preferred 

Thirteen  keys:  Buffet-system 
"Contrabasse  en  Si>" 
Contra-Bassoon — ■ 

Compass  and  notation  16, 

IVench  System 

Harmonic  series  and  scale 

Illustration 

Quality  of  tone 
Contra-Sarrusophone — ■ 

Compass  and  notation  16, 

French  System 

Harmonic  series  and  scale 
.  Illustration 

Quality  of  tone 
Contrabass  Saxhorn  (see  also  Saxhorns) — 

Descrii)tion 

Technical  and  conunon  names 
Contrabass  Tuba  (see  also  Tubas) — 

Description 

Technical  and  common  names 


PAGES 

44 
51 
50 

45-46 
47 
45 
49 
44 
25 
64 

42-43 
68 

34-35 
38 

6 

55 

52-54 

59 

58 

34-35 

55 

56-57 

52 

36 

7 

30 

40 
49 
64 

34-35 
57 
54 
60 
58 

34-35 
57 
54 
60 
58 

61 
64 

62 
64 


INDEX 


83 


PA 

r.F.s 

PAGES 

Contralto  (or  Alto)  \'oice — Compass  and  notation 

11 

Flageolet — Compass  and  notation 

14 

Cornets  (see  also  Saxhorns) — ■ 

llicorno  Baritono 

64 

Conical  bore                                                        1'' 

(),i 

I'licorno  Basso-Grave 

64 

Harmonic-series,  scale  and  registers 

71 

I'licorno  (^ontrabasso 

64 

Partly  cylindrical  bore 

63 

Flicorno  Contralto 

64 

Transposition 

41 

Flicorno  Sopranino 

64 

Trills 

73 

Flicorno  Tenore 

64 

Cornet-a-pistons — 

Fliigelhorn 

64 

Compass  and  notation 

20 

Flugelhorn  or  valve  Bugle  (see  Saxhorns) 

19 

See  Soprano  Saxhorn 

64 

Flute — A  pi|)e  open  at  both  ends 

38 

"Cornet  Soloist" 

62 

I'lutes — Boehm  System 

56 

Counterpoint 

36 

Compass  and  notation                               14 

,  34-35 

Crash-machine 

26 

Harmonic  series,  scale  and  registers 

54 

Cuckoo-instrument  (see  Ocarina) 

14 

Illustrations 

59 

Cylindrical  bored  instruments — Characteristics 

37 

Quality  of  tone 

58 

Cymbals 

26 

Transposition 

41 

Tremolos  possible  on  Haynes'  Flute 

55 

Diapason  (see  Organ) 

24 

Forsyth's  OrcJicstration                                     46, 

50.58 

Die  Pilgrimme  von  Mckka:  use  of  Flageolet 

14 

Fourth-vahe 

68-69 

Double-Bass  (see  Contrabass) 

30 

Foundation  Stops  (see  Organ) 

24 

Double-rccd  mouthpiece 

52 

Franchetti's  Germania:  use  of  Tubas 

62 

Drum  and  I'ife  Corps 

5 

I-Vench  Horn  (see  Horns) 

Dulciana  (see  Organ) 

24 

Dulcimer  (see  Hungarian  Cembalo) 

30 

C.-clef 

42 

Dulcitone  (see  Typophune) 

27 

Gamba  (see  Organ) 

24 

Genis 

64 

Ear-training 

36 

Germania:  use  of  Tubas 

62 

"Eb-Alto"                                                         32,  61 

64 

Ge\aert 

58,  62 

"EI>-Bass" 

64 

Glass-plates  (or  Keyed  Harmonica) 

27 

"Eb-Tenor" 

64 

(ilissando — 

English  band  publications 

3,2 

on  the  Harp 

29 

English  Horn — • 

on  the  Trombone 

74 

Compass  and  notation                                 16,  34 

-35 

Glocl<ens[)icl  (see  Hells  or  Carillons) 

27 

Harmonic  series,  scale  and  registers 

54 

( jluck's  Die  Pil'^rimmevon  Mekka:  use  of  Flageolet  14 

Illustration 

60 

Gong  (see  Tam-Tam) 

26 

Paris  Conservatory  System 

56 

Grand  Quintet — 

Quality  of  tone 

58 

Definition 

6 

Transposition 

41 

Section  I  (see  band  instruments) 

34-35 

"Enharmonic  valves" 

68 

Guitar — Compass  and  notation 

28 

Equal -temperament-scale 

37 

Gm'tar-Banjo — ^Comi)ass  and  notation 

28 

Eufonio 

64 

Guide-clefs 

42 

Euphonium  (see  Tubas,  \).  20) 

64 

1  landel's  Acis  and  Gulatca:  use  of  Flageolet 

14 

F-clefs 

42 

Harmonic-series  of  an  8  ft. -C  open  pipe 

37 

Falslaff:  use  of  Tronibone-Basso- Verdi 

22 

Harmonic-series,  scale  and  registers  of  the 

Families  of  wind  instruments 

30 

Clarinets 

44-45 

Fanfare                                                                         5 

62 

Conic-wood 

54 

I'^emale  Voices — Compass  and  notation 

11 

Brass 

71 

Fifes — Compass  and  notation 

1  1 

Harmonics  of  the  bowerl  instruments 

30 

I'iftecnth  (see  Organ) 

24 

Harmonium — Compass  and  notation 

23 

Fixed  pitch  (see  Percussion  instruments) 

27 

llarinon\- 

36 

84 


WIND  INSTRUMENTS 


PAGES 

Harps — Compass  and  notation 

29, 

34-35 

Harp-Guitar 

28 

Hcckelphone  (or  Baritone  Oboe) — 

Compass  and  notation 

16 

Harmonic  series,  scale  and  registers 

54 

Transposition 

41 

Helicon 

64 

Hofmann 

58 

Horns — 

Compass  and  notation 

18, 

34-35 

Harmonic-scries,  scale  and  registers 

71 

Illustration 

76 

Muted 

72 

Notation  octave  lower 

40 

Quality  of  tone 

75 

Old  and  modern  bass-clef  notations 

18 

Transposition 

41 

Trills 

73 

Human  Voice  (see  Voices) 

Hungarian  Cembalo — Compass  and  notation 

30 

II  Serra^lio:  use  of  Flageolet  14 

Indeterminate  jiitch  (see  Percussion  instruments)  26 
Indian-drum  26 

Indy,  d',  (see  T\  puphone)  28 

Introduction  9 

Irish-Harp  29 


Japanese-Bells — Compass  and  notation 


27 


42 


Key-signature  of  tlic  transposing  instruments 
Keyed-conical  tube  instruments — Compass 

and  notation  14-17,34-35 

Keyed-cylindrical    tube   instruments   (see 

Clarinets)  12-13,34-35 

Keyed-Harmonica — Compass  and  notation  27 

Kontrabass  in  B  64 

Kontrabass-Tuba  64 

Lateral-hole  mouthpiece  52 

I.yf)n  (see  Chromatic  Harp)  29 

Lj'ric-Soprano — Compass  and  notation  11 

Male  Voices — Compass  and  notation  11 

Mand(^-Bass — Compass  and  notation  28 

Mando-Cello — Compass  and  notation  28 

Mandola — Compass  and  notation  28 

Mandolin — Compass  and  notation  28 

Mandolin-Banjo — Compass  and  notation  28 

Manuals  (see  Organ)  24 

Mezzo-Soprano-def  42 


Mezzo-Soprano  instruments — Transposition 
Mezzo-Soprano  Saxhorns  (see  also  Saxhorns)— 

Description 

Technical  and  common  names 
Mezzo-So])rano  Voice — Compass  and  notation 
Military  Band — 

Definition 


PAGES 

41 

61 
64 
11 

31 

Score-order  and  proportion  of  instruments  34-35 

Substitution  of  instruments  31-32 

Mixture  (see  Organ)  25 
Mouth|)ieces   (see   Classification   of  wind 

instruments)  38 

Mouthpieces,  Brass, — -Drawings  65 

Mozart's  //  Scrra'^Iio:  use  of  Flageolet  14 

Mutation  stops  (see  Organ)  25 

Muted  Brass  72 

Natural  harmonics  (on  bowed  instruments)  30 

Natural-horns  18 

Natural-TrumiK'ts  21 

Notations  used  for  wind  instruments  39-40 

Oboe- 
Compass  and  notation  16,  34-35 

Harmonic-series,  scale  and  registers  54 

Illustration  60 

Paris  Conservatory  System  56 

Quality  of  tone  58 
Oboe,  Baritone,  (see  Heckelphone) 
Oboe  d'  A  more — 

Compass  and  notation  16 

Harmonic-series,  scale  and  registers  54 

Ocarina — Compass  and  notation  14 

Octave  (see  Organ)  24 

Octave  bass-clef  40 

Open-pipes — Acoustical  laws  38 

Ophicleides — Compass  and  notation  17 

Organ — Compass  and  notation  24 

Otcllo:  use  of  Trombone-Basso- Verdi  22 

Partial  tones  37 

Pedal  (see  Organ)  25 

Pellittone  64 
Percussion  Instruments — 

Classification  9 
Compass  and  notation                               26,  34-35 

Section  IV  (see  band  instruments)  34-35 
Percussive  stringed  instruments — Compass 

and  notation  30 

Petit  Bugle  64 

Pianoforte — ^Compass  and  notation  30 


INDEX 


85 


PAGES 

Piccolos 

Compass  and  notation  14,  34-35 

Harmonic-scries  and  scale  54 

Quality  of  tone  58 

Transposition  41 

Piccolo  Fife— Compass  and  notation  14 

Piccolo  Cornet  in  Es  64 

Piston  in  B  64 

Piston!  no  64 

Plucked  stringed  instruments — Compass 

and  notation  28-29 

Point  of  departure  note  (see  guide-clefs)  42 
Polyphonic  Wind  Instruments — 

Classification  9 

Compass  and  notation  23-25 

Preface  5 

Preliminary  remarks  6 

Prout  58 

Quint  (see  Organ)  25 
Quintet  (see  Grand-Quintet)                             6,  34-35 

Rattle  26 

Registers  or  Stops  (see  Organ)  24-25 

Rin^  des  Xiheliingen:  use  of  Tuben  62 

Rullante  26,  il 

Russian  Bassoon — Compass  and  notation  1 7 

Salicional  (see  Organ)  24 

Sarrusophones — • 

Compass  and  notation  16,  34-35 

Complete  family  16 

French  System  57 

Harmonic-series,  scale  and  registers  54 

Illustrations  60 

Quality  of  tone  58 

Sax,  Adoljih,  61-62 

Saxophones — 

Compass  and  notation  15,  34-35 

Harmon ic-series,  scale  and  registers  54 

Illustrations  5") 

"ImproN-ed  S\stem"  (Sixteen  keys)  57 

Quality  of  tone  58 

Saxhorns — 

Compass  and  notation  19,  34-35 

Harrnoiiic-series,  scale  and  registers  71 

Illustrations  76-78 

Origin  61 

QualitN-  of  tone  75 

Technical  and  cominon  names  64 

Trills  73 

Saxtrombas  62,  64 


PAGES 

64 


Saxtromba  Soprano 

Saxtrf)mba,  Super-acute,  in  B';> — Compass 

and  notation 
Score-order  of  hand  instruments 
Serpent — Compass  and  notation 
Side  Drum 

Single-reed  mouthpiece 
Sleigh-Bells 
Slide  (see  also  Trombones) — 

Mechanism 

Positions 
Slide  TromI)f)ne  (see  Trombones) 
Slide  and  vahe  instruments  compared 
Solfeggio 

Sopranino  Clarinets  (see  Clarinets) 
Sopranino  instruments  in  A>,  F  and  Eb — 

Transposition 
Sopranino  Saxhorn  (see  also  Saxhorns) — 

Description 

More  appropriate  in  Brass  Band 

Technical  and  common  names 
Sopranino  Saxophone  (see  Saxophones) 
Soprano  in  C  (l\-pical  instrument) 
Soprano  Clarinets  (sec  Clarinets) 
Soprano-clef 
Soprano  Cornet 

Soprano  instruments  in  B[>  and  A — Trans- 
position 
Soprano  Saxhorn  (see  also  Saxhorns) — 

Description 

Technical  and  common  names 
Soprano  Saxophone  (see  Saxophones) 
Soprano  Voice — Compass  and  notation 
Sound-producing  instruments — Classification 
Speaker-key 

Steel-Ciuitar — -Compass  and  notation 
Stopped-pipes — Characteristics 
Stringed  instruments — 

Classification 

Compass  and  notation 
S\-ml)()Is  for  names  of  instruments 
Symphony  Hand  — 

Definition 

Score  order  and  proportion  of  instruments     34-35 
Sym[)hony  Orchestra — Definition  6 

Synoptical  Tables,  List  of,  8 


62 

34-35 

17 

26,  34-35 

52 

26 

66 
67 

67 
36 


41 

61 
62 
64 

39 

42 
64 

41 

61 

64 

11 

9 

44 

28 
37 

9 

28-30 
32,  34-35 

31 


Tabor 

Tam-Tam  (Gong) 
Tambourine 
Teachers,  To  the, 


26 
26 
26 
36 


86 


WIND  INSTRUMENTS 


PAGES 
28 

42 

26,  32 

64 


Tenor-Ranjo — Compass  and  notation 

Tenor-clef 

Tenor-Drum  (see  RuUanle) 

T^nor  en  Sib 

Tenor-horn 

Tenor  instrimients  in  C  and  Bb — Transposition 

Tenor-Mandola — Compass  and  notation 

Tenor  Saxliorn  (see  also  Saxhorns) — 
Description 
Technical  and  common  names 

Tenor  Saxophone  (see  Saxophones) 

Tenor  Trombone  (see  Trombones) 

Tenor  Tuba  (see  also  Tubas) — 
Description 
Technical  and  common  names 

Tenor  Voice — ^Compass  and  notation 

Three-valve  system,  defects  of, 

Timpani — Compass  and  notation 

Transposing  bass-clef 

Transi)osing  instruments — 
In  unison  with  the  Piano 
Method  for  reading  and  writing  their  parts 

Transposing-notation 

Transposing  treble-clef 

Transposition — 

In  the  liand  score 
Reading  and  writing 

Triangle 

Trombones  (see  also  slide) — 

Compass  and  notation  22,  34-35 

Glissando  74 

Harmonic-series,  scale  and  registers  71 

Illustrations  80 

Lip-trills  74 

Muted  72 

Quality  of  tone  7,'5 

Repeated  intervals  74 

Troml)one-Basso- Verdi  22 

Trumpets — 

Compass  and  notation  21,  34-35 

Harmonic-series,  scale  and  registers  71 

Illustrations  80 

Muted  72 

Notation  octave  lower  40 

Quality  of  tone  75 

Transposition  41 

Trills  73 

Tubas^ 

Compass  and  notation  20,  34-35 

Harmonic-series,  scale  and  registers  71 

Illustrations  79 


64 
41 

28 

61 
64 


62 
64 
11 
68 
26,  34-35 
42 


41 
42 
39 
39 

34-35 
10 
26 


PAGES 

Tubas — Conlintced 

Origin  61 

Qualil\-  of  tone  75 

Technical  and  common  names  64 

Trills  73 

Used  by  I'Vanchetti  62 

Tuba  en  Sib  64 

Tuben,  Wagner's  20,  62 

Tubular  Bells — Compass  and  notation  27,  34-35 

Twelfth  (see  Organ)  25 

Typical  instruments  39 

Typophone — Comjiass  and  notation  27 


Ukulele — Compass  and  notation 

Uniform  fingering  system 

Uniform  notation 

Unison  passages  for  transposing  instruments 

Unda  Maris  (see  Organ) 

Valves — 

Mechanism 

Positions 
Valves,  compensating, 
Valv'es,  enharmonic. 
Valve  instruments — 

Compass  and  notation  18-21, 

Defective  tones 

Trills 
Vah'e-Trombones — Compass  and  nota*:ion 
Vent-key 

Verdi's  Otello  and  Fahtaff:  use  of  Trombone- 
Basso-Verdi 
Vibrating  sections 
Viola — Compass  and  notation 
Viola  d'Amore — Compass  and  notation 
Viola  da  Gamba — Compass  and  notation 
Violin — ^Compass  and  notation 
Violoncello — Compass  and  notation 
Violone  (see  Organ) 
Voices — - 

Classification 

Compass  and  notation 
Voice-terms  designating  wind  instruments 
Voix  Celeste  (see  Organ) 
Vox  Humana  (see  Organ) 


28 
39 
39 
41 
24 


66 
67 
68 
68 

34-35 
68 
73 
22 
44 

22 
37 
30 
30 
30 
30 
30 
24 

9 
11 
39 
24 
25 


Wagner — 

Bass  Trumpet,  l^se  of,  22 

Contrabass  Trombone,  Use  of,  22 

Contra-Bassoon  written  for  in  actual-sound  16 

Tuben — Compass  and  notation  20 

Tuben,  Use  of,  62 


INDEX 


87 


Water-machine 

Whip  or  Slap-stick 

Widor 

Wind  instruments — 

Classification 

Compass  and  notation 
Wind-machine 


PAGES 

26 
26 

58 

9,  38 

12-22,  34-35 

26 


"Wood"— Definition 
Wood-wind 

Xylophone — Compass  and  notation 

Zimbalon  (see  Hungarian  Cembalo) 
Zither — Compass  and  notation 


PAGES 

38 
6 

27,  34-35 

30 
28 


^.l 


ERRATA 

Pages 

14 — Foot-note  No.  1:     Read  Die  Pilgrimnie  for  Die  Pilgrim. 

26 — Timpani:     Read  Medium  for  Middle. 

29 — Put  8^^  ....  over  the  high  limit  of  the  Harp  compass. 

34-35— Under  G2,  add  G3^  After  Trumpets  I.  II.  add  III.  Put  bass-clef  to 
the  compass  of  the  Tenor  Trombones.  Put  8^^  .  .  .  .  over  the  high  limit 
of  the  Harp  compass.  For  the  Symphony  Band  of  75,  change  to  3 
Trumpets  and  1  Harp. 

62 — Foot-note  No.  4:     Read  Ring  des  Nibelungen. 


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